nso 2012/13 season brochure

目次 Table of Contents

音樂總監前言 Music Director’s Foreword 4

樂季總表 Event Calendar 8

音樂總監　呂紹嘉 Shao-Chia Lü, Music Director 14

桂冠指揮　赫比希 Günther Herbig, Conductor Laureate 16

駐團作曲家佑斯特 Christian Jost, Composer in Residence 18

樂季音樂會　探索系列　New Frontier Series 19

專文：以才華和時代對賭─普羅科菲夫　文／焦元溥 20

SYMPOSIA: The Colourful World of Prokofiev　by Daniel Jaffé 24

法蘭西系列　Kaleidoscopic France Series 33

專文：「浪漫」的晚霞「現代」的晨曦─NSO的「世紀末法蘭西系列」　文／陳漢金 34

SYMPOSIA: The Developments in French Orchestral Music after 1870

by Lesley A. Wright 38

名家系列　Masters & NSO Series 47

NSO精選　NSO Classics 53

專文：華格納與威爾第　文／金慶雲 54

SYMPOSIA: Poles Apart?　by Hugo Shirley 57

專文：華格納的《尼貝龍指環》和其「首日」《女武神》　文／羅基敏 63

SYMPOSIA: An All-Too-Human Drama　by Hugo Shirley 67

室內樂及講座室內樂系列　Chamber Music Series 71

【NSO室內樂集】 NSO Chamber Concerts 72

【畫說音樂】講座音樂會 Music and Beaux Arts, Lecture Concerts 73

【焦點】講座音樂會 What is Composition? Lecture Concerts 74

【探索頻道】講座音樂會 Music Discovery, Lecture Concerts 75

　

呂紹嘉時間 Meet Maestro Lü 76

認識音樂家認識NSO　Meet the NSO Musicians and Team 78

認識客席音樂家　Meet the Guest Artists 83

空中導聆 NSO ON AIR 100

套票與座位表 Tickets and Seating Information 101

國家交響樂團 2012／13 樂季手冊

4 音樂總監前言

音樂總監前言展開另一頁音樂壯遊

NSO的2012/13樂季，我們懷抱著同樣興奮的心情，本著一貫的精鍊傳統，探索新領域

的信念，以下列幾個節目主題呈現給各位愛樂朋友：

探索系列：以普羅科菲夫為主角的斯拉夫音樂

集狂放不羈，炫麗迷人於一身的普羅科菲夫，從早期（《塞西亞組曲》、第一號小提琴協

奏曲、《古典交響曲》、第三號交響曲……）的叛逆野蠻，到中期以後（《羅密歐與茱麗葉》、

《灰姑娘》、《彼得與狼》、第五號交響曲、《基傑中尉》……）的簡潔雋永、知性深情又不忘

辛辣尖銳，他為20世紀的俄羅斯音樂寫下獨樹一幟的絢爛篇章，也為自己成就了接近普羅大

眾的現代音樂語言。此外，蕭斯塔科維契的第六號與第九號交響曲、拉赫瑪尼諾夫的第二號鋼琴協奏曲、

李姆斯基-柯薩科夫的《天方夜譚》、哈察圖量的小提琴協奏曲、穆梭斯基的《死神歌舞》、

李蓋提的《羅馬尼亞協奏曲》將為此系列注入更多元豐富的活力；而浦朗克的雙鋼琴協奏

曲（拉貝克姐妹演奏）、蕭邦的第一號鋼琴協奏曲（鄧泰山演奏）、史特勞斯的雙簧管協奏曲

（勒樂演奏）與旅美作曲家李元貞的新作《間奏曲：商》則為這慓悍的斯拉夫風味增添幾許

溫婉詩意的異國色彩。

法蘭西系列：德布西、拉威爾、與……

法國音樂特有的氣韻與美感，到德布西與拉威爾手中達到登峰造極的境界；德布西

《牧神午後前奏曲》中的神祕飄浮，欲言又止的留白，讓近代音樂步入一個全然迥異於德奧

音樂的美學天地，加上拉威爾魔幻奇想的和聲設計與目眩神離的管絃手法，使得世紀交接

之際的法國音樂，釋放著令人無法抗拒的致命吸引力。我們除了德布西與拉威爾的多首名作

外，還安排了法朗克、佛瑞、聖桑斯、盧賽爾、蕭頌、法雅、拉羅等人的精采作品，將帶給大家

一個罕見而純粹的法蘭西音樂宴饗。期盼透過這穿梭神遊於古希臘神話，充滿詩情畫意的

音樂，讓NSO與大家一起經歷一次次很不一樣的，更親密的心靈交會。特別要一提的是，多次來台，備受推崇的韓國鋼琴家白建宇，將與NSO獨奏家們合作一

場「完全法蘭西」的室內樂音樂會，當今世上兩位大提琴明星卡普頌與嘉碧妲，分別獻演聖

桑斯與拉羅協奏曲，而小號王子納卡里亞可夫的柴科夫斯基《洛可可變奏曲》、法國鋼琴家

巴佛傑的巴爾托克協奏曲與法雅《西班牙花園之夜》、次女高音杜費克絲的蕭頌《愛與海之

詩》與拉威爾《天方夜譚》、與台北愛樂合唱團合作佛瑞的《安魂曲》，都將是光彩迸發，錯

過可惜的音樂盛會。

5 Music Director s Foreword

名家系列

這是個名家薈萃，以德奧音樂為主體的系列。曲目包括兩部偉大的布魯克納交響曲及多

首莫札特、貝多芬、布拉姆斯、理查．史特勞斯的經典作品。獨奏家中，年輕一輩鋼琴翹楚史岱費爾德、小提琴巨星賀普、豎笛女王梅耶是引人矚目

的焦點。此外，赫比希的柴科夫斯基第四、簡文彬與陳必先合作的「李斯特之夜」也是同樣

另人期待的黃金陣容。

特別介紹NSO本樂季駐團作曲家佑斯特（Christian Jost），他是現今德國最活躍、最

具代表性的青壯代作曲家之一，我們將在此系列首演他為NSO所寫的《地平線》(Horizon)，並期待透過研討與講座，能促進東西方作曲界的互動與交流。此外，前輩編舞家劉鳳學、指

揮邱君強與新古典舞團將以舞劇方式演繹馬水龍教授重新修訂的大型管絃樂作品《霸王虞

姬》。

威爾第與華格納

2013年是兩位歌劇巨擘的200年誕辰，我們將以整場威爾第歌劇選曲（包括聲勢浩大的

《阿伊達》第二幕）的新年音樂會，及與多位國際知名歌唱家和台北愛樂合唱團攜手合作的

威爾第《安魂曲》向大師致敬，而在戲劇院推出的華格納《女武神》全新製作，由德國華格

納專家雷曼（Hans-Peter Lehmann）執導，網羅國內外一流歌手與製作團隊，更是NSO本樂

季最具份量的壓軸大戲。

除了主題性的音樂會，我們在每個樂季裡也會為「小樂迷」、愛樂新鮮人們準備跨界、嘗

新形式的演出及深入淺出的講座音樂會。伊古德斯曼與朱鉉基的《古典音樂駭客之夜》、張

尹芳的《永遠的童話—彼得與狼……還有巴巴！》將讓大家歡樂進入音樂世界。一向受愛

樂者喜愛的NSO講座音樂會系列裡，陳漢金將再一次以「畫說音樂」切入古典音樂世界—

【您說是巴洛克?】、焦元溥【音樂與文學的對話】則從文學帶入音樂，NSO獨奏家們也將呼

應本樂季主題，以【探索頻道】、【馬卡龍與伏特加】兩個室內樂系列展現俄國與法國作曲家

們多層次的室內樂作品。

誠摯的邀請您來加入我們的音樂壯遊！

從德布西的《牧神午後》談起—樂季巡禮講座音樂會　2012年7月11日（三）19:30

華格納歌劇《女武神》　2013年6月22日（六）14:00

詳細資訊請見76頁

音樂總監

呂紹嘉

時間

Music Director s ForewordA New Page of Musical Expedition

For the NSO s 2012-13 season, we continue to uphold the refined aspects of tradition whilst exploring new frontiers with the same excitement as before, and will present the following themes:

Masters & New Frontier: Featuring Prokofiev

Prokofiev s works are a mix of wildness and charm. His early works such as Scythian Suite, Violin Concerto No.1, Classical Symphony and Symphony No.3 are rebellious, while his later works like Romeo and Juliet, Cinderella, Peter and the Wolf, Symphony No.5, and Lieutenant Kijé are concise, sensible and sharp. He left a unique page for the 20th century Russian music and created a modern musical language that reaches the heart of the public.

Added to this, Shostakovich s Symphony Nos. 6 and 9, Rachmaninoff s Piano Concerto No.2, Rimsky-Korsakov s Scheherazade, Sergey Khachatryan s Violin Concerto, Mussorgsky s Songs and Dances of Death, and Ligeti s Concert Românesc will bring more oomph to the series. Meanwhile, Poulenc s Concerto for 2 Pianos (played by Katia and Marielle Labèque), Chopin s Piano Concerto No.1 (by Dang Thai Son), Richard Strauss Oboe Concerto (by François Leleux), and US-based composer Yuan-Chen Li s Internezzo: SHANG for symphonic orchestra will add a twist of mellow and exotic flavor to the fierce Slavic music.

Kaleidoscopic France: Debussy and Ravel

The unique charm and aesthetics of modern French music culminate in the times of Debussy and Ravel. The floating mystery and the expressive silence of Debussy s Prélude à l’après-midi d’un faune have brought a new aesthetic into modern music much at variance from Austro-German music. Ravel s fascinating presentment of harmony and dazzling orchestration have made French music an irresistible attraction since the turn of the twentieth century. Besides Debussy and Ravel, we also present the works of César Franck, Gabriel Fauré, Camille Saint-Saëns, Albert Roussel, Ernest Chausson, Manuel de Falla and Édouard Lalo for a rare feast in pure French music. We hope that through Greek mythology and poetic music, the NSO will bring audiences various more intimate, heart-to-heart moments.

Worth mentioning is popular Korean pianist Kun-Woo Paik, a frequent visitor to Taiwan, will collaborate with NSO Soloists for a “Salon for Virtuosi＂ chamber concert. Cellists Gautier Capuçon and Sol Gabetta will perform Saint-Saëns and Lalo s concertos respectively. Other must-hear concerts feature trumpeter Sergei Nakariakov in Tchaikovsky s Variations on a Rococo Theme, French pianist Jean-Efflam Bavouzet in Bartók s Piano Concerto No. 3 and Falla s Nights in the Gardens of Spain, soprano Stella Doufexis in Chausson s Poème de l’amour et de la mer, and the Taipei Philharmonic Chorus in Fauré s Requiem.

6 音樂總監前言

NSO ClassicsThis series focuses on Austro-German classics. The repertoire includes two great

symphonies of Bruckner and classics of Mozart, Beethoven, Brahms and Richard Strauss. German pianist Martin Stadtfeld, violinist Daniel Hope and clarinetist Sabine Meyer star

among soloists. Moreover, Günther Herbig s Tchaikovsky s Symphony No.4, and Chien Wen-Pin and Chen Pi-Hsien s “Faust by Liszt – Weimar 1857＂ both promise to be most rewarding.

I would also like to introduce the NSO s resident composer Christian Jost, one of Germany s most active and representative composers. We will premiere his Horizon, and hope to facilitate interaction and exchange between East and West through discussions and seminars. Meanwhile, choreographer Liu Feng-Shueh, conductor Chiu Chun-Chiang and the Neo-Classic Dance Company will perform Ma Shui-Long s newly revised Farewell My Concubine in dance form.

Verdi and Wagner

2013 is the 200th anniversary for Verdi and Wagner. We will pay our tribute to the masters in our New Year Concert, featuring a selection of Verdi s opera scenes (including the complete Act Two of Aida) as well as our collaboration with international vocalists and the Taipei Philharmonic Chorus in Verdi s Requiem. A brand-new production of Wagner s Die Walküre in the National Theater will be directed by Hans-Peter Lehmann and staged by top-notch vocalists and production team. It will be the NSOs most spectacular closing performance for the season.

Besides theme concerts, we will also prepare crossover and new-form performances as well

as lecture concerts for children and newcomers. “Big Nightmare Music-Igudesman & Joo＂ and Chang Yin-Fang s NSO Forever Tales, “Peter, Wolf...and Babar!＂, will lead us happily into the music world of the young. For the popular Lecture Concert Series, Chen Han-Jin will talk on the Baroque and Chiao Yuan-Pu will address music from a literary point of view with his “Dialogues between Literature and Music＂. The NSO soloists will also correspond to the theme of the season and stage two chamber series—“Music Discovery＂ and “Macaron and Vodka＂ to showcase the different layers of Russian and French chamber music.

You are cordially invited to join our musical expedition!

7 Music Director s Foreword

8 樂季總表

SEASON OF 2012/2013

9/29/2012 Sat. 19:30

法蘭西系列 Kaleidoscopic France

牧神與愛神The Greek Myth指揮 / 呂紹嘉小號 / 瑟吉．納卡里亞可夫Shao-Chia Lü, conductorSergei Nakariakov, trumpet德布西：《牧神午後前奏曲》柴科夫斯基：《洛可可主題變奏曲》（改編給小號）法朗克：《賽姬》拉威爾：《達夫尼與克蘿伊》第二號組曲C. DEBUSSY:

Prélude à l’après-midi d’un fauneP. I. TCHAIKOVSKY:

Variations on a Rococo Theme, op.33 (arr. for trumpet)

C. FRANCK: Psyché M. RAVEL: Daphnis et Chloé Suite No.2400 600 800 1000 1200 1500

p.42

CH

10/5/2012 Fri. 19:30

探索系列 New Frontier

迷幻奇航─天方夜譚Fugitive Journey ─ Scheherazade指揮 / 簡文彬小提琴 / 曾宇謙Wen-Pin Chien, conductorYu-Chien Tseng, violin普羅科菲夫：《瞬間印象》(巴夏改編) 普羅科菲夫：第一號小提琴協奏曲李姆斯基 -柯薩科夫：《天方夜譚》S. PROKOFIEV:

Visions fugitives (arr. by R. Barshai)Violin Concerto No.1

N. RIMSKY-KORSAKOV: Scheherazade400 600 800 1000 1200 1500

p.28

CH

10/7/2012 Sun. 14:30

【畫說音樂】講座音樂會Music and Beaux Arts ,Lecture Concerts

巴洛克的母邦（一）：義大利的聲樂The Mother Land of Baroque Music ─ Vocal Italy主講 / 陳漢金Han-Jin Chen, lecturer＊Lecture in Chinese400

p.73

RH

9/21/2012 Fri. 19:30

探索系列 New Frontier開季音樂會 Season Opening Concert

永恆羅密歐 Oh, Romeo!指揮 / 呂紹嘉小提琴 / 瑟吉．哈察特楊Shao-Chia Lü, conductorSergey Khachatryan, violin李蓋提：《羅馬尼亞協奏曲》哈察圖量：D小調小提琴協奏曲普羅科菲夫：《羅密歐與茱麗葉》組曲選段G. LIGETI: Concert RomânescA. KHACHATURIAN:

Violin Concerto, D minor S. PROKOFIEV:

Excerpts from Romeo and Juliet Suites400 600 800 1000 1200 1500

p.28

CH

RH 9/28/2012 Fri. 19:30

【探索頻道】講座音樂會Music Discovery, Lecture Concerts

叛逆天才─普羅科菲夫The Striking Rebel ─ Prokofiev主講 / 焦元溥 Yuan-Pu Chiao, lecturer ＊Lecture in Chinese400

p.75

Sept2012

Oct2012

10/11/2012 Thu. 19:30

10/12/2012 Fri. 19:30

NSO精選 NSO Classics

古典音樂駭客之夜Big Nightmare Music ─Igudesman & Joo指揮 / 張尹芳小提琴 / 阿雷格西．伊古德斯曼鋼琴 / 朱鉉基Yin-Fang Chang, conductorAleksey Igudesman, violinHyung-ki Joo, piano伊古德斯曼與朱鉉基改編古典經典如：約翰．史特勞斯《藍色多瑙河》、莫札特《土耳其進行曲》、拉赫瑪尼諾夫之鋼琴協奏曲及他們自己的創作曲Twists and turns of classical masters and pieces by Igudesman & Joo500 800 1000 1500 1800 2400 3000

2012/10/13 Sat. 19:30 巡演

p.60

CHTOUR

10/19/2012 Fri. 19:30


冰原烈焰Fire on Ice指揮 / 奧列格．凱塔尼鋼琴 / 德傑．拉錫克男低音 / 阿斯卡．亞德拉札可夫Oleg Caetani, conductorDejan Lazić, pianoAskar Abdrazakov, bass普羅科菲夫：《三橘之戀》拉赫瑪尼諾夫：第二號鋼琴協奏曲穆梭斯基：《死神歌舞》（蕭斯塔科維契改編）蕭斯塔科維契：第九號交響曲S. PROKOFIEV: The Love for Three Oranges, op.33bisS. RACHMANINOFF: Piano Concerto No.2, op.18, C minorM. MUSSORGSKY: Songs and Dances of Death (orchestrated by D. Shostakovich)D. SHOSTAKOVICH: Symphony No.9 400 600 800 1000 1200 1500

p.29

CH

10/20/2012 Sat. 14:30

【焦點】講座音樂會 What is Composition? Lecture Concerts

愛聽秋墳鬼唱詩：音樂鬼故事 Tales of Ghosts主講 / 焦元溥 Yuan-Pu Chiao, lecturer ＊Lecture in Chinese400

p.74

RH

樂季總表

9 Event Calendar

＊演出場地標示：NT 國家戲劇院；CH 國家音樂廳；RH 演奏廳；TOUR 巡演＊Venues of Performances: NT – National Theater; CH – National Concert Hall; RH – National Recital Hall; TOUR – on tour

11/24/2012 Sat. 19:30


叛逆古典Classical & Revolt指揮 / 尼可拉斯．米爾頓雙簧管 / 馮思瓦．勒樂Nicholas Milton, conductor François Leleux, oboe普羅科菲夫：《古典交響曲》理查．史特勞斯：D大調雙簧管協奏曲李元貞：《間奏曲：商》，為管絃樂團蕭斯塔科維契：第六號交響曲 S. PROKOFIEV: Classical Symphony, op.25 R. STRAUSS: Oboe Concerto, D major YUAN-CHEN LI: Intermezzo:

SHANG for symphonic orchestra D. SHOSTAKOVICH:

Symphony No.6, op.54, B minor 400 600 800 1000 1200 1500

p.30

CH

11/3/2012 Sat. 14:30

【畫說音樂】講座音樂會Music and Beaux Arts, Lecture Concerts

巴洛克的母邦（二）：義大利的器樂The Mother Land of Baroque Music ─ Instrumental Italy主講 / 陳漢金Han-Jin Chen, lecturer＊Lecture in Chinese400

p.73

RH

Nov2012

11/2-9/2012

東北亞巡演Asia Tour指揮 / 呂紹嘉小提琴 / 林以信鋼琴 / 荻原麻未 (11/9)Shao-Chia Lü, conductorJoseph Lin, violinMami Hagiwara, piano (11/9) 柴科夫斯基：《羅密歐與茱麗葉》幻想序曲葛拉祖諾夫：A小調小提琴協奏曲葛利格：A小調鋼琴協奏曲 (11/9)德沃札克：第九號交響曲《新世界》P. I. TCHAIKOVSKY:

Romeo and Juliet Overture-Fantasy A. GLAZUNOV:

Violin Concerto, op.82, A minor E. GRIEG:

Piano Concerto, op.16, A minor (11/9)A. DVOŘÁK: Symphony No.9, op.95,

E minor, From the New World

TOUR10/27/2012 Sat. 19:30


酒神與海妖An Evening with Bacchus指揮 / 費比恩．蓋柏大提琴 / 葛替耶爾．卡普頌國立實驗合唱團Fabien Gabel, conductor Gautier Capuçon, cello Taiwan National Choir拉威爾：《庫普蘭之墓》聖桑斯：第一號大提琴協奏曲德布西：交響組曲《夜曲》盧賽爾：《酒神與亞麗安娜》第二號組曲 M. RAVEL: Le Tombeau de Couperin C. SAINT-SAËNS: Cello Concerto No.1C. DEBUSSY: Nocturnes A. ROUSSEL:

Bacchus et Ariane Suite No.2, op.43400 600 800 1000 1200 1500

p.42

CH

11/18/2012 Sun. 14:30


色彩斑斕的聲音畫家─德布西The Splendid Sound-Painter ─ Debussy主講 / 焦元溥 Yuan-Pu Chiao, lecturer ＊Lecture in Chinese400

p.75

RH

11/25/2012 Sun. 14:30


約翰們走路─范德騰與老布去散步Just Keep Talking: A Tale of Two Johnnies主講 / 范德騰John Vaughan, lecturer ＊Lecture in Chinese400

p.75

RH

11/30-12/1/2012 Fri.-Sat. 19:30

12/2/2012 Sun. 14:30

舞劇 Dance Drama

《霸王虞姬》（名稱暫定）Farewell My Concubine指揮 / 邱君強編舞 / 劉鳳學新古典舞團台北愛樂合唱團Chun-Chiang Chiu, conductorLiu Feng-Shueh, choreographerNeo-Classic Dance CompanyTaipei Philharmonic Chorus馬水龍：《霸王虞姬》MA SHUI-LONG: Farewell My Concubine相關資訊詳見www.ntch.edu.tw

NT

10 樂季總表

SEASON OF 2012/2013

12/8/2012 Sat. 19:30


心靈聖詠Song of Soul指揮 / 呂紹嘉女高音 / 林慈音、林孟君低男中音 / 蔡文浩台北愛樂合唱團Shao-Chia Lü, conductorGrace Lin / Meng-Chun Lin, sopranoWen-Hao Tsai, bass-baritoneTaipei Philharmonic Chorus洪崇焜：《聲音》法朗克：D小調交響曲佛瑞：《安魂曲》（室內樂版本）CHUNG-KUN HONG: VOXC. FRANCK: Symphony, D minor G. FAURÉ: Requiem, op.48

(chamber version) 400 600 800 1000 1200 1500

p.43

CH

12/31/2012 Mon. 21:45

1/1/2013 Tue. 19:30

NSO 跨／新年音樂會2013 New Year Concert

威爾第之夜Forever Love指揮 / 呂紹嘉女高音 / 安娜列娜．派松、黃莉錦次女高音 / 維多利亞．利文顧德、石易巧

CH

Dec2012

12/9/2012 Sun. 14:30


古典精神的堅持：法國的「反巴洛克」The Anti-Baroque Spirit ─ France主講 / 陳漢金Han-Jin Chen, lecturer＊Lecture in Chinese400

p.73

RH

12/16/2012 Sun. 19:30

名家系列 Masters & NSO

樂起地平線─布魯克納第六Arise from the Horizon指揮 / 呂紹嘉Shao-Chia Lü, conductor莫札特：第三十五號交響曲《哈夫納》佑斯特：《地平線》（亞洲首演）布魯克納：第六號交響曲W. A. MOZART:

Symphony No.35, K.385, D major, Haffner C. JOST: Horizon (Asia premiere)A. BRUCKNER:

Symphony No.6, A major 400 600 800 1000 1200 1500

p.48

CH

12/21/2012 Fri. 19:30

【NSO室內樂集】NSO Chamber Concerts

「日安！伏特加」“Добрый день! Vodka”小提琴 / 鄧皓敦、陳偉泓中提琴 / 黃瑞儀、陳猶白大提琴 / 連亦先、黃日昇鋼琴 / 葉孟儒蕭斯塔科維契：G小調鋼琴五重奏，作品57柴科夫斯基：D小調絃樂六重奏，作品70，《佛羅倫斯的回憶》D. SHOSTAKOVICH:

Piano Quintet in G minor, op.57P. I. TCHAIKOVSKY:

String Sextet in D minor, Souvenir de Florence, op.70

400

p.72

RH

男高音 / 馬克．海勒、林健吉男中音 / 巫白玉璽台北愛樂合唱團Shao-Chia Lü, conductorAnnalena Persson / Li-Chin Huang,

soprano Victoria Livengood / I-Chiao Shih,

mezzo-sopranoMarc Heller / Claude Lin, tenorWu Bai-Yu-Hsi, baritoneTaipei Philharmonic Chorus威爾第：《命運之力》序曲《弄臣》第三幕，四重唱〈世間最美的少女〉《奧泰羅》第一幕，二重唱〈夜幕已深〉《遊唱詩人》第二幕，第一景二重唱《阿伊達》第二幕 G. VERDI:

La forza del destino OvertureRigoletto, Act III, quartet ‘Bella figlia dell’amore’ Otello, Act I, love duette: ‘Già nella notte’ Il Trovatore, Act II, scene 1, duette: ‘Soli or siamo’ & ‘non son tuo figlio?’Aida, Act II

400 600 1000 1500 1800 2400 3000

p.61

1/13/2013 Sun. 19:30


英雄與皇帝Emperor & Hero指揮 / 約翰．艾瑟羅德鋼琴 / 馬丁．史岱費爾德John Axelrod, conductorMartin Stadtfeld, piano貝多芬：第五號鋼琴協奏曲《皇帝》第三號交響曲《英雄》

L. V. BEETHOVEN: Piano Concerto No.5, op.73, E-flat major, EmperorSymphony No.3, op.55, E-flat major, Eroica

400 600 800 1000 1200 1500

p.48

CH

Jan2013

SEASON OF 2012/2013

12/1/2012 Sat. 19:30


「晚安！帕薩加利亞」“Night, Passacaglia”小提琴 / 李宜錦大提琴 / 連亦先葛里耶爾：給小提琴與大提琴的八首小品韓德爾 / 哈爾沃森：《帕薩加利亞舞曲》歐內格：小奏鳴曲，為小提琴與大提琴柯大宜：小提琴與大提琴二重奏R. GLIÈRE: 8 Pieces, op.39J. HALVORSEN:

Passacaglia (after G. F. Handel)A. HONEGGER:

Sonatina for Violin and CelloZ. KODÁLY:

Duet for Violin and Cello, op.7400

p.72

RH

11 Event Calendar


Feb2013

2/28/2013 Thu. 19:30


絕技沙龍Salon for Virtuosi鋼琴 / 白建宇NSO 獨奏家群Kun-Woo Paik, pianoNSO Musicians法朗克：《前奏曲、聖詠與賦格》佛瑞：《敘事曲》，為鋼琴與管絃樂團蕭頌：D大調協奏曲，為小提琴、鋼琴、　絃樂四重奏C. FRANCK: Prélude, Choral et FugueG. FAURÉ:

Ballade for Piano and Orchestra, op.19 E. CHAUSSON:

Concert for Violin, Piano, String quartet in D major

400 600 800 1000 1200 1500

p.43

CH

Mar2013

3/1/2013 Fri. 19:30


「午安！馬卡龍」“Bon jour! Macarons”長笛 / 安德石雙簧管 / 王怡靜單簧管 / 朱玫玲低音管 / 簡凱玉鋼琴 / 簡美玲豎琴 / 解瑄若利韋：《聖誕田園》法朗謝：木管四重奏聖桑斯：《綺想曲》葛令卡：D小調《悲愴三重奏》

RH

3/9/2013 Sat. 14:30


詩中有樂樂中有詩Double Helix: Music and Poetry主講 / 焦元溥Yuan-Pu Chiao, lecturer＊Lecture in Chinese400

p.74

RH

3/17/2013 Sun. 19:30


暮光草原Twilight in Scythia指揮 / 呂紹嘉鋼琴 / 尚-艾弗藍．巴佛傑Shao-Chia Lü, conductorJean-Efflam Bavouzet, piano 德布西：〈伊貝利亞〉，選自《意象》管絃樂曲巴爾托克：第三號鋼琴協奏曲法雅：《西班牙花園之夜》普羅科菲夫：《塞西亞組曲》C. DEBUSSY: Images: Ibéria B. BARTÓK: Piano Concerto No.3 M. FALLA: Nights in the Gardens of SpainS. PROKOFIEV: Scythian Suite, op.20400 600 800 1000 1200 1500

2013/3/16 Sat. 19:30 巡演400 600 800 1000

p.44

CHTOUR

3/24/2013 Sun. 19:30

TIFA 2013 台灣國際藝術節名家系列 Masters & NSO

純淨美聲─莎賓．梅耶與NSOSabine Meyer & NSO指揮 / 呂紹嘉單簧管 / 莎賓．梅耶Shao-Chia Lü, conductorSabine Meyer, clarinet理查．史特勞斯：《狄爾愉快的惡作劇》莫札特：A大調單簧管協奏曲布拉姆斯：第四號交響曲R. STRAUSS: Till Eulenspiegels lustige Streiche, op.28

W. A. MOZART: Clarinet Concerto, K.622, A major

J. BRAHMS:Symphony No.4, op.98, E minor

400 600 800 1000 1200 1500

p.49

CH

3/30/2013 Sat. 19:30

TIFA 2013 台灣國際藝術節

威爾第《安魂曲》Verdi’s Requiem指揮 / 呂紹嘉台北愛樂合唱團Shao-Chia Lü, conductorTaipei Philharmonic Chorus威爾第：《安魂曲》G. VERDI: Messa da requiem相關資訊詳見 www.ntch.edu.tw

CH

3/31/2013 Sun. 14:30


歌劇製造機─威爾第(一)The Opera Jukebox ─ Verdi (I)主講 / 何康婷Kang-Ting Ho, lecturer＊Lecture in Chinese400

p.75

RH

A. JOLIVET: Pastorales de Noël for Flute, Bassoon & Harp

J. FRANÇAIX: Quatuor pour grande flûte, hautbois, clarinette et basson

C. SAINT-SAËNS: Caprice on Danish and Russian Airs, for Flute, Oboe, Clarinet and Piano, op.79

M. GLINKA: Trio Pathetique in D minor for Clarinet, Bassoon and Piano

400

p.72

12 樂季總表

SEASON OF 2012/2013

4/13/2013 Sat. 19:30


漫步展覽會Promenade at the Exhibition指揮 / 關琦安大提琴 / 修兒．嘉碧妲Carolyn Kuan, conductorSol Gabetta, cello佛瑞：《佩利亞斯與梅麗桑德》組曲拉羅：D小調大提琴協奏曲拉威爾：《小丑的晨歌》穆梭斯基：《展覽會之畫》(拉威爾改編)G. FAURÉ:

Pelléas et Mélisande Suite, op.80 E. LALO: Cello Concerto, D minor M. RAVEL: Alborada del graciosoM. MUSSORGSKY:

Pictures at an Exhibition (orchestrated by M. Ravel )

400 600 800 1000 1200 1500

p.45

CH

4/19/2013 Fri. 19:30


D吟．曼陀林─艾維塔與他的新朋友Avi Avital and His New Friends曼陀林 / 艾維．艾維塔打擊樂 / 尚恩．夏那漢NSO首席絃樂團Avi Avital, mandolinShane Shanahan, percussionNSO String Ensemble李和莆：〈卑南－台東蘭嶼〉，選自《臺灣四季》(世界首演) 巴赫：Ｄ小調第一號大鍵琴協奏曲（改編給曼陀林）大衛．契斯基：《絃理論》尚恩．夏那漢：二首給打擊、曼陀林與絃樂團的新作斯特拉溫斯基：Ｄ大調協奏曲，給絃樂團LEE, WEN-PIN HOPE : ‘Puyuma－Orchid Island, Taitun’ from

Taiwan Four Seasons (World premiere) J.S. BACH:

Harpsichord Concerto No.1, BWV1052, D minor (arr. for mandolin)

D. CHESKY: String Theory S. SHANAHAN:

Two new pieces for mandolin, percussion and string orchestra

I. STRAVINSKY:Concerto in D (Basel Concerto)

400 600 800 1000

p.62

CH

4/21/2013 Sun. 14:30


矜持與狂放：英國 vs.西班牙Decorum and Verve ─ England vs. Spain 主講 / 陳漢金Han-Jin Chen, lecturer＊Lecture in Chinese400

p.73

RH

4/27/2013 Sat. 19:30


琴劍交鋒Lightening on Keyboards指揮 / 尼可萊．阿雷席夫鋼琴 / 拉貝克姊妹Nikolai Alexeev, conductorKatia and Marielle Labèque, piano普羅科菲夫：《基傑中尉》組曲浦朗克：D小調雙鋼琴協奏曲普羅科菲夫：第五號交響曲S. PROKOFIEV: Lieutenant Kijé Suite, op.60

F. POULENC: Concerto for 2 Pianos, D minor

S. PROKOFIEV: Symphony No.5, op.100, B-flat major

400 600 800 1000 1200 1500

2013/4/28 Sun. 19:30 巡演400 600 800 1000

p.31

CHTOUR

May2013

Apr2013

4/6/2013 Sat. 14:30&19'30

探索系列 New FrontierNSO永遠的童話NSO Forever Tales

彼得與狼⋯⋯還有巴巴！Peter, Wolf...and Babar! 指揮 / 張尹芳說書人 / 梁坤豪Yin-Fang Chang, conductorKun-Hao Liang, storyman浦朗克：《小象巴巴》（法朗謝改編）普羅科菲夫：《彼得與狼》F. POULENC:

L'histoire de Babar, le petit éléphant(orchestrated by J. Français)

S. PROKOFIEV: Peter and the Wolf 400 600 800

p.30

CH

5/4/2013 Sat. 14:30


歌劇製造機─威爾第(二)The Opera Jukebox ─ Verdi (II)主講 / 何康婷Kang-Ting Ho, lecturer＊Lecture in Chinese400

p.75

RH

13 Event Calendar


Jun2013

Jul2013

5/10/2013 Fri. 19:30


蒼穹天河─布魯克納第五The Magnificence─Bruckner No.5指揮 / 根特．赫比希Günther Herbig, conductor 布魯克納：第五號交響曲A. BRUCKNER:

Symphony No.5, B-flat major 400 600 800 1000 1200 1500

p.50

CH 5/31/2013 Fri. 19:30


威瑪1857─李斯特的浮士德Faust by Liszt ─Weimar 1857指揮 / 簡文彬鋼琴 / 陳必先男高音 / 林健吉拉縴人男聲合唱團Wen-Pin Chien, conductor Pi-Hsien Chen, pianoClaude Lin, tenorTaipei Male Choir李斯特：第二號鋼琴協奏曲《浮士德》交響曲

F. LISZT: Piano Concerto No.2, S.125, A major A Faust Symphony, S.108

400 600 800 1000 1200 1500

p.51

CH

5/17/2013 Fri. 19:30


別來無恙，老柴！─賀普與NSODaniel Hope & NSO指揮 / 根特．赫比希小提琴 / 丹尼爾．賀普Günther Herbig, conductor Daniel Hope, violin貝多芬：第三號《蕾奧諾拉》序曲布瑞頓：小提琴協奏曲柴科夫斯基：第四號交響曲L. V. BEETHOVEN:

Leonore Overture No.3, op.72bB. BRITTEN:

Violin Concerto No.1, op.15 P. I. TCHAIKOVSKY:

Symphony No.4, op.36, F minor 400 600 800 1000 1200 1500

2013/5/18 Sat. 19:30 巡演400 600 800 1000

p.50

CHTOUR

6/2/2013 Sun. 14:30

【畫說音樂】講座音樂會Music and Beaux Arts,Lecture Concerts

巴洛克的昇華：德國的新教音樂The Sublime of Baroque ─ Germany主講 / 陳漢金Han-Jin Chen, lecturer＊Lecture in Chinese400

p.73

RH

6/7/2013 Fri. 19:30


鐵血柔情Iron & Poetry指揮 / 呂紹嘉鋼琴 / 鄧泰山Shao-Chia Lü, conductorDang Thai Son, piano 普羅科菲夫：《灰姑娘》第一號組曲第三號交響曲蕭邦：第一號鋼琴協奏曲S. PROKOFIEV:

Cinderella Suite No.1, op.107 Symphony No.3, op.44, C minor

F. CHOPIN: Piano Concerto No.1, op.11, E minor

400 600 800 1000 1200 1500

p.32

CH

6/14/2013 Fri. 19:30


海之詩Poème de la mer指揮 / 呂紹嘉次女高音 / 絲黛拉．杜費克斯Shao-Chia Lü, conductorStella Doufexis, mezzo-soprano布瑞頓：四首〈海之間奏曲〉，選自《彼得．格林》蕭頌：《愛與海之詩》拉威爾：《天方夜譚》德布西：《海》B. BRITTEN:

Peter Grimes: 4 Sea Interludes, op.33a E. CHAUSSON:

Poème de l’amour et de la mer, op.19 M. RAVEL: Shéhérazade C. DEBUSSY: La mer

400 600 800 1000 1200 1500

2013/6/15 Sat. 19:30 巡演

400 600 800 1000

p.45

CHTOUR

7/10/2013 Wed. 18:00

7/12/2013 Fri. 18:00

7/14/2013 Sun. 14:30

NSO 歌劇 NSO Opera

《女武神》Die Walküre指揮 / 呂紹嘉導演 / 漢斯-彼得．雷曼舞台設計 / 蔡秀錦Shao-Chia Lü, conductorHans-Peter Lehmann, directorHsiu-Chin Tsai, set design齊格蒙 / 沃夫崗．史瓦寧格渾丁 / 安卓亞斯．霍爾佛旦 / 貝拉．裴倫茨布倫希德 / 依姆嘉德．費絲麥爾國內聲樂家聲樂指導 / 艾希．凡魏Wolfgang Schwaninger, SiegmundAndreas Horl, HundingBéla Perencz, WotanIrmgard Vilsmaier, BrünnhildeSingers from Taiwan Ansi Verwey, vocal coach華格納：《女武神》R. WAGNER: Die Walküre

500 800 1200 1800 2400 3000 3600 5000

p.70

NT

5/25/2013 Sat. 14:30


托爾斯泰與米蘭昆德拉：《克羅采奏鳴曲》與《生命中不可承受之輕》Great Novels in Great Composers’ Eyes 主講 / 焦元溥Yuan-Pu Chiao, lecturer ＊Lecture in Chinese400

p.74

RH


14 音樂總監介紹

出生台灣新竹縣，自幼學習鋼琴。就讀台大心理系期間，受陳秋盛先生之啟發開始鑽研指揮藝術。先後

赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利Accademia Musicale Chigiana di Siena指揮班，隨大師G. Rozhdestvensky學習。

在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂紹嘉展開他在歐

洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立

歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監，並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾

皇家歌劇院、澳洲雪梨歌劇院、瑞典哥特堡歌劇院、德國斯圖加特、柏林德意志、漢堡、法蘭克福歌劇院及維

也納夏季音樂節（Klangbogen）擔任客席指揮。此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和

日本東京及名古屋演出《霍夫曼的故事》。在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數精采深刻的音

樂詮釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於

2004年5月獲文化部長頒贈象徵該省文化最高榮譽的Peter Cornelius獎章。在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇

外，他成功的推出了雅納捷克及德布西的作品，使得劇院的名聲更推展至國際化的層次。他所指揮的德布西

歌劇《佩利亞與梅麗桑》，於2004年獲邀赴維也納音樂節及愛丁堡藝術季演出多場，獲得極高讚譽。除了歌劇領域外，呂紹嘉在音樂會上的表現也同樣耀眼，至今合作的主要交響樂團有：慕尼黑愛樂、柏

林、西南德、中德、巴伐利亞、維也納廣播樂團、法國國家、里昂、杜魯士、史特拉斯堡交響樂團、英國利物浦

愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡交響樂團、羅馬聖西西里亞樂

團……等。2011年底，呂紹嘉首度在阿姆斯特丹指揮荷蘭皇家音樂大會堂管絃樂團，以斯特拉溫斯基的《春

之祭》博得滿堂彩。在亞洲，他近期將在東京指揮新日本愛樂演出貝多芬第九交響曲。

在睽違台灣多年後，呂紹嘉於2010年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼以「精緻．深

刻．悸動」之信念，深耕台灣樂壇。

音樂總監呂紹嘉Shao-Chia Lü, Music Director

National Symphony Orchestra 2012／13 Season

15 Music Director

The Taiwan-born Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam.

In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Opera Australia and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre.

Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der Fliegender Holländer, Wozzeck, Rosenkavalier, Elektra, Salome, to name a few. In summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals.

Shao-Chia Lü’s recent opera engagements include: Parsifal and Katja Kabanowa in Goteborg, Sweden, La fanciulla del west in Stuttgart, Eugene Onegin at the Komische Oper, Berlin, Madama Butterfly and Tosca in Sydney and Melbourne.

Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for 2 unchanged programms (including Bruckner Symphony No.8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam.

Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010.

「呂紹嘉是表達音樂意境之大師，也是一位才華卓越的指揮。」 —《南德意志報》

“The conductor Shao-Chia Lü is a master of nuance – and an exceptionally gifted conductor.＂ —Süddeutsche Zeitung

「呂紹嘉的音樂有極高的專注力與靈敏度。指揮時展現出的旺盛精力將音樂中的各戲劇

性轉移發揮地淋漓盡致。他的節奏感非常精準，透過完整的詮釋，準確無誤地掌握速度上

的細緻變化。」 —《雪梨前鋒報》

“... Lü s musical watchfulness if terrier-like in its intensity. He pounces on the dramatic shifts in the score with a seemingly feverish energy. His sense of rhythm is exact and he knows how to signal unerringly each of the many small changes of pace in a thoroughly studied interpretation… he is, an deserves to be, the star of this evening.＂ —The Sydney Morning Herald


16 桂冠指揮介紹

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20多次，並與東京的幾個知名樂團合作，以及香港、新加坡和台灣

等地樂團合作演出。在1984-1994年間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。

赫比希師事赫曼．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；

1977-83年間，任柏林交響樂團音樂總監。1979年轉赴西歐，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、以色列愛樂等知名樂團。

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。

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2001-2006年擔任沙爾布魯克廣播交響樂

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。

在2008年1月，赫比希擔任國家交響樂團2008-2010樂季藝術顧問與首席客座指

揮，並於卸任後受邀擔任NSO桂冠指揮。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。

桂冠指揮根特．赫比希Günther Herbig, Conductor Laureate


17 Conductor Laureate

Günther Herbig divides his activities between Europe and North America. His conducting career has been equally distinguished on both continents. He has also visited Asia for almost 20 times working with several Tokyo orchestras and those in Hong Kong, Singapore and Taiwan.

In 1984 he moved from East Germany to the United States and served for ten years as Music Director first of the Detroit and later of the Toronto Symphony Orchestra. Herbig s musical training took place in Central Europe where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. He began his career with appointments in the East German cities of Weimar and Potsdam. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Berlin Symphony Orchestra from 1977 to 1983. Turning to Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979. Soon he was invited to conduct such major ensembles as the London Symphony, the Royal Philharmonic London, the Philharmonia in London, the Orchestre de Paris, the Israel Philharmonic, and many others in major cities.

In the USA he started in 1979 as Principal Guest Conductor of the Dallas Symphony and has since conducted the Orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, Toronto, Baltimore, and many others. He toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. In 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Japan, Singapore and Taiwan.

Herbig made nearly 40 recordings including cycles of Haydn and Brahms symphonies before leaving East Germany in 1984. His most recent releases include Beethoven Symphony Nos. 3 & 5, Schubert Symphony No.8, Brahms Symphony No.1, Mahler Symphony No.5 and Strauss Ein Heldenleben with the BBC Philharmonic, and some other recordings with London Orchestras. From 2001 to 2006 he was the Chief Conductor of the Saarbrücken Radio Symphony Orchestra with which he also recorded some major symphonies by Mahler and Shostakovich.

Mr. Herbig was the Artistic Advisor and Principal Guest Conductor of Taiwan Philharmoric (NSO) from 2008 to 2010. Together with the NSO, Mr. Herbig recorded and released Mahler Symphony Nos. 6 & 9 and Bruckner Symphony No.9 under the brand

“NSO Live＂.

「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》

“The orchestra under Herbig played magnificently...[i]n the Schumann Fourth Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent...＂ —The Sun

「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《熱情》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》

“If you thought the days of the great conductors were all in the past, then think again. Gunther Herbig's presentation of the "Pathetique" symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.

—Manchester Evening News


18 駐團作曲家介紹

出生於1963年德國特里爾的克里斯蒂安．佑

斯特，是其同一世代中最受歡迎的作曲家之一。他

的歌劇作品已成為歐洲歌劇院的定劇目，而他的管

絃樂作品在國際間亦不斷地被演出。2003年，佑斯

特獲得西門子基金會作曲家贊助獎的肯定；2009年，他的歌劇《哈姆雷特》被評選為德國、奧地利、

瑞士地區的「年度最佳世界首演製作」。

佑斯特經常獲得世界各地頂尖樂團、音樂節

以及歌劇院的委託創作邀約，其中包括柏林愛樂、

琉森音樂節、柏林喜歌劇院、荷蘭愛樂、蘇黎士歌

劇院、耶路撒冷室內音樂節、埃森阿爾托劇院、柏

林德意志交響樂團、比利時法蘭德斯歌劇院、梅克

倫堡－前波莫瑞州與什列斯威－霍爾斯坦音樂節、

上海交響樂團、格拉茨歌劇院以及國家交響樂團

（NSO）等。

此外，佑斯特亦是非常受歡迎的指揮家，曾經

指揮過布萊梅愛樂、柏林喜歌劇院樂團、漢堡愛

樂、格拉茨愛樂以及埃森愛樂樂團。

Born in 1963 in Trier, Christian Jost is one of the well-received composers of his generation. His operas have been included in the repertoire of European opera houses, and his orchestral compositions have been regularly performed worldwide. In 2003, he received the Ernst von Siemens Foundation Encouragement Prize. In 2009, his opera Hamlet was praised as the

“World Premiere of the Year＂ in Germany, Austria and Switzerland.

Jost has been commissioned by leading orchestras, festivals and opera houses around the world, including the Berliner Philharmoniker, the Lucerne Festival, the Komische Oper Berlin, the Nederlands Philharmonisch Orkest, the Zurich Opera House, the Jerusalem Chamber Music Festival, the Aalto Theatre Essen, the Deutsches Symphonie-Orchester Berlin, the Vlaamse Opera Antwerp/Ghent, Mecklenburg-Vorpommern as well as Schleswig-Holstein Music Festivals, the Shanghai Symphony Orchestra, the Opera Graz and the Taiwan Philharmonic.

Christian Jost is also in great demand as a conductor. He has conducted orchestras such as the Bremen Philharmoniker, the orchestra of the Komische Oper Berlin, the Hamburger Philharmoniker, the Graz Philharmonic Orchestra, and the Essener Philharmoniker.

駐團作曲家克里斯蒂安．佑斯特Christian Jost, Composer in Residence

「我不斷尋找神奇的時刻，但唯有透過結構、形式與音調之間複雜又多變的比率，才能讓我找到。」—佑斯特

“I am permanently on the search for the magic moment and can only achieve this through a complex and differentiated ratio between structure, form and tone.＂ —Christian Jost


永恆羅密歐開季音樂會 Oh, Romeo! Season Opening Concert

迷幻奇航—天方夜譚 Fugitive Journey—Scheherazade 冰原烈焰 Fire on Ice叛逆古典 Classical & Revolt彼得與狼⋯⋯還有巴巴！ NSO永遠的童話 Peter, Wolf...and Babar! NSO Forever Tales

琴劍交鋒 Lightening on Keyboards鐵血柔情 Iron & Poetry

集狂放不羈、炫麗迷人於一身的普羅科菲夫，

為20世紀的俄羅斯音樂寫下獨樹一幟的絢爛篇章，也為自己成就了接近普羅大眾的現代音樂語言。

—呂紹嘉

探索系列New Frontier

20 探索系列


以才華和時代對賭─普羅科菲夫文／焦元溥

這是一個有關偉大作曲天才與時代命運的故

事。

雖說史上天才真的不少，但要鋒芒銳利如普羅

科菲夫（Sergei Prokofiev, 1891-1953），那也實在罕

見—畢竟，這可是5歲開始作曲，7歲學下棋，鬼點

子無可遏抑的超級神童。彷彿用譜紙寫日記，他何人

何事都能用音符描繪。等到13歲真的要進聖彼德堡

音樂院，這孩子給考官的見面禮竟是兩首奏鳴曲、一

部交響曲、諸多鋼琴獨奏小曲與四齣歌劇。帶著過

人的自知，炯炯眼神裡他閃爍著自己想要的音樂，這

世界只能等著接受。

鋼琴是普羅科菲夫自己的樂器，他也的確技

術出群，更以個人特色革新鋼琴音樂。鼎鼎大名的

艾西波華（Anna Essipova），普羅科菲夫的鋼琴老

師，給他的評語是「才華出眾卻無禮傲慢」。這話一

點沒錯。他討厭學院鋼琴比賽中必須演奏古典作品

的規定，堅持改以自己的第一號鋼琴協奏曲（Piano Concerto No.1, op.10），最後還是奪得冠軍，活活

氣死一票老師。沒辦法，普羅科菲夫就是要照自己

的方式作曲演奏，把鋼琴當成能歌唱的打擊樂器，

將不和諧音與多重調性玩弄於股掌之間。他大力

擊鍵，聲響爽利新奇，節奏宛如鋼鐵工廠，在鐵錘

Piotr Kontschalowski (1934) 普羅科菲夫畫像。

戴亞吉列夫、斯特拉溫斯基與舞蹈家尼金斯基（由左至右）。

21 New Frontier


與火光中敲出白熱化燦爛。鋼琴曲《四首練習曲》

（Four Etudes, op.2）、《惡魔的唆使》（Suggestion

Diabolique, op.4-4）、《觸技曲》（Toccata, op.11）和

《諷刺》（Sarcasms, op.17）等等，都是挑釁刺激、不

懷好意，讓人左支右絀、手忙腳亂的作品。第二號鋼

琴協奏曲（Piano Concerto No.2, op.16）不僅是野

獸派音樂代表，至今仍是鋼琴文獻中技巧最艱深的

作品之一，折磨一代代鋼琴家。

才華洋溢如他，也終究和斯特拉溫斯基一樣，

得到戴亞吉列夫（Sergei Diaghilev）賞識，展開俄國

以外的音樂事業。他們最初合作並未完成，作曲家整

理樂稿成為《塞西亞組曲》（Scythian Suite, op.20），

野性蠻荒又黑暗詭譎，其筆下的異教邪神，確實和斯

特拉溫斯基一時瑜亮，至於完成的《愚人》（Chout, op.21）則獲得好評。雖然頭角崢嶸，普羅科菲夫還

是可以譜出清新夢幻，年輕時的他更有朝陽澄澈的

青春。一次大戰時他回學院躲避徵兵，亂世動盪卻

使他神智剔透。二十首鋼琴小曲《瞬間印象》（Visions

fugitives, op.22），就是如此迷人經典。回想他叛逆少

年，正規訓練雖然讓他大感無聊，但一如和老師爭吵

不休卻又不斷精進的琴藝，這位罕見天才還是聰明

地學會所有使他如虎添翼的技法。第一號交響曲《古

典》（Symphony No.1 Classical, op.25）就是結合現

代新穎音響與海頓機敏趣味的名作，至今都是音樂

會寵兒；同時寫作的第一號小提琴協奏曲（Violin Concerto No.1, op.19）也能收起張牙舞爪，流露浪

漫情韻。至於《賭徒》（The Gambler, op.24）更滿是

讓人瞠目結舌的巧思，果然是「自幼」就擅寫歌劇的

老手。

然而，共產革命風潮所帶來的變動世局，最終

也讓普羅科菲夫體認，前衛激進祖國不容，必須轉進

他鄉方能一展長才。可嘆他運氣實在不佳，首站美國

出師不利，最後還是巴黎與歐洲讓他稍得發展。但

無論如何，他寫出比《賭徒》更放肆誇張的歌劇《三

橘之戀》（The Love for Three Oranges, op.33），劇本想

法之怪，音樂搭配之奇，大概也只有普羅科菲夫有這

本事能夠寫成。至於膾炙人口的第三號鋼琴協奏曲

（Piano Concerto No.3, op.26），則是將古典形式、

民歌素材、原創技巧融整為一的曠世傑作，明朗透亮

混搭潑辣恣意，作曲家更親自留下演奏錄音，記錄歷

史傳奇。不過這時期最常被忽略的，是驚悚敗德的

五幕歌劇《火焰天使》（The Fiery Angel, op. 37）。即

使以現今眼光觀之，此劇之大膽仍讓人側目驚懼，無

怪上演機率微乎其微。所幸普羅科菲夫大概也心知

肚明，於是選取劇中精彩樂段改寫成第三號交響曲

（Symphony No. 3 in C minor, op.44），讓聽眾還

有機會聆賞那邪魔降世的極致恐怖。

由於在西方事業不如預期，短暫回國數次又

受到熱烈歡迎，不像拉赫瑪尼諾夫或斯特拉溫斯

基，普羅科菲夫最後居然一步步回到已成蘇聯的俄

國。開始情勢似乎一片大好。電影配樂《基傑中尉》

（Lieutenant Kijé, op.60）和芭蕾舞劇《羅密歐與茱麗

葉》（Romeo and Juliet, op.64）是作曲家試探水溫之

作，普羅科菲夫給了精采異常的絕妙旋律：諷刺之作

《基傑中尉》詼諧又悅耳（現以組曲聞名），《羅密

歐與茱麗葉》情境設計之巧與樂思內蘊之深，皆讓

人嘆為觀止，也是芭蕾舞劇又一里程碑。之後他為電

影《亞歷山大．涅夫斯基》（Alexander Nevsky, op.78）譜寫配樂（後改成同名清唱劇），氣勢磅礡且想像新

奇，更是劃時代的超凡成就。

但對政治再怎麼天真，普羅科菲夫終究不得不

承認，蘇聯統治的真正面目，遠比他所想像地恐怖。

22 探索系列


他的歌劇《賽永．柯特科》（Semyon Kotko, op.81）首

演因為導演被秘密警察逮捕槍決而延期，他的創作

自由也越來越受到限制。「形式主義」的指控無所不

在，幾乎任何題材或手法都可能被羅織入罪。即使地

位崇高如普羅科菲夫，面對可能的身家危險，仍然不

得不屈服。迫於無奈，他必須寫作許多為政治服務

的樂曲，包括史達林60大壽頌歌。但他靈感與技巧

並未衰退。只要時機許可，他也能寫出《彼得與狼》

（Peter and the Wolf, op.67）如此可愛迷人之作。

一如一次世界大戰時，普羅科菲夫的創作反而

更為精進，風雲變色、慘絕人寰的二次大戰，也成為

他創作生涯的又一高峰。他一口氣寫出十個樂章，慢

慢修改組合成第六、七、八號鋼琴奏鳴曲。世人都說

那是「戰爭奏鳴曲」，內行人才知那其實是「KGB三

聯作」，訴說極權統治下的人民心聲。納粹入侵激起

他的奮發意志，寫出以托爾斯泰小說為本，長達四小

時、上場人物超過七十名的龐大偉構《戰爭與和平》

（War and Peace, op.91）。當創作箝制隨著戰事方酣

而轉移焦點，如同蕭斯塔科維契，稍稍得到呼吸空

間的普羅科菲夫也道出不少發自內心的真實話語：

第一號小提琴奏鳴曲（Violin Sonata No.1, op.80）的勇敢批判，第二號小提琴（長笛）奏鳴曲（Violin Sonata No.2/ Flute Sonta, op.94）的甜美洗練，清唱

劇《恐怖伊凡》（Ivan the Terrible, op.116）的劇力萬

鈞，都有爐火純青的筆法。作品編號一百的第五號交

響曲（Symphony No.5, op.100），更是他最受歡迎的

代表作。快意奔放不失深度，信手拈來盡是繽紛，再

一次，普羅科菲夫證明自己絕對名列史上最頂尖的

作曲家。只是此時的他，還看不到即將到來的一切。

1948年，蘇聯整肅藝術界，共黨中央委員會態

度大變，抨擊普羅科菲夫等人為「脫離人民品味」

的「形式主義者」，作品帶有「歐美現代中產階級

電影《亞歷山大．涅夫斯基》劇照。


23 New Frontier

毒素」。普羅科菲夫多數作品被禁，身體健康也每

下愈況。所幸在這大難來臨之前，他已完成語彙複

雜且反思戰爭的第六號交響曲（Symphony No.6, op.111），不然我們可能永遠聽不到他對二戰最犀

利的評論。面對政治力的殘忍打擊，普羅科菲夫又

想著什麼呢？他把冷笑放在大提琴奏鳴曲（Cello Sonata in C, op.119）第二樂章，繁複艱深的超技則

留給為大提琴和管絃樂的交響協奏曲（Symphony-Concerto, op.125）。但就像他在二戰末期譜出的

芭蕾舞劇《灰姑娘》（Cinderella, op.87），晚年的普

羅科菲夫，機鋒終於化為睿智。當桀傲不遜的天才

懂得體察人情世故，作品自也煥發出截然不同的光

輝。1952年10月11日第七號交響曲（Symphony No.7, op.131）首演，音樂青春熱情又甜苦交織，悲歡離合

拼湊出模稜兩可的曖昧，旋律卻掛著淡淡笑意。那是

精於棋戲的作曲家，留給世人的美麗謎語。

那也是他最後一次出席自己的作品發表。1953年3月5日，普羅科菲夫逝世於莫斯科，當天正好也是

史達林死訊發布，一代藝術巨擘，訃聞就淹沒在獨裁

者的消息裡。

論才華，普羅科菲夫是世紀頂尖。諷刺、賣弄、

溫情、深刻、優雅、精練，只要願意，沒有他寫不來的

樂曲，也沒有他不擅長的領域。或許，有人會遺憾這

百年不遇的造反野小孩，居然沒有走上無調與序列

的道路，一生固守於調性音樂；這既嚴重影響了學界

對他的評價，也把創新前衛的冠冕白白讓給前輩斯

特拉溫斯基與荀貝格。但話說回來，在那往往刻意求

新的時代，能夠堅持自我、始終如一，或許才需要最

大的勇氣。而普羅科菲夫之所以到現在都能牽動人

心，也必然不只是旋律動聽：可叛逆可理性，能不羈

能沉潛，無論面貌如何，在他最好的作品裡，我們永

遠可以聽到發自靈魂深處的真誠情感。那情感何其

飽滿強烈，逼得你不得不與之共鳴。畢竟，當人生過完，時代逝去，聆聽普羅科菲

夫，我們終會也只會明白，那是一個有關偉大作曲天

才的故事。

＊焦元溥，倫敦國王學院音樂學博士

普羅科菲夫與妻兒。

Sergei Prokofiev

24 探索系列


�e Colourful World of Prokofievby Daniel Jaffé

Prokofiev s musical style is one of the most dist inctive amongst 20th century composers: a gifted and inventive melodist, fond of quirky and unexpected harmonies, he was a lso one of the century s most colourful orchestrators. That last quality is all the more remarkable since – unlike his near contemporaries Stravinsky and Shostakovich who both grew up in Russia s capital – Prokofiev grew up in a rural estate hundreds of miles away from any city, and therefore did not encounter an orchestra until he was eight years old.

The occasion was New Year s Eve 1900 when his parents took him to the opera and ballet in Moscow. In an era before the sound of an orchestra could be heard at home with the f lick of a switch, either on radio or on the gramophone, one can only guess the effect seeing and hearing a live orchestra for the first time had on the budding musician. His parents took

him to the operas Faust and Prince Igor (the latter with its thrilling Polovtsian Dances), and to Tchaikovsky s Sleeping Beauty. Hardly surprisingly, Prokof iev ever afterwards regarded orchestral music first and foremost as a dramatic medium: this remained true even of his work in the relatively abstract genre of symphony – significantly four out of seven of his published symphonies are derived from music he originally composed either for the stage or the cinema screen.

One may also sense how the young Prokofiev was impressed by the sheer physical impact of hearing and witnessing such a massed ensemble of players; compared to the more consistently refined orchestral palette of Stravinsky and Shostakovich, the sheer en masse quality of Prokofiev s orchestral style in such works as the Scythian Suite, or even in parts of his ballet Romeo and Juliet, shows an unrestrained, even

25 New Frontier


greedy relish in the orchestra s potential. Yet Prokofiev was equally able to compose some of the most refined instrumental textures, whether the elegant “classical” scoring of his Symphony No. 1, indebted to the late symphonies of Joseph Haydn, or in the ethereal or sometimes eerie colours he created from strings and/or woodwind: consider the alarming shrieks and gambolings he draws from the 13-part string texture in the remarkable scherzo of his Third Symphony, or the ghostly textures of the last few pages of the Fifth Symphony s Adagio.

So how did Prokofiev develop his distinctive orchestral style? At the St. Petersburg Conservatory he was, as is often said, one of the last pupils of that legendary master of orchestration, Rimsky-Korsakov; yet, as Prokof iev himself admitted, he found it frustratingly hard to learn from Rimsky-Korsakov s highly popular and crowded classes. In fact during those years he gained most from his conducting studies under Nikolai Tcherepnin, in which he studied the scores of the classical composers Mozart

Romeo and Juliet, Sergei Diaghilev’s Ballets Russes

and Haydn. He also in his spare time studied scores by the then leading avant-garde composer Scriabin: echoes of The Divine Poem, whose first part Prokofiev transcribed and presented to Scriabin, may be heard some 35 years later in his Fifth and particularly his Sixth Symphonies. He also learnt a great deal from his senior contemporary, Stravinsky, most notably from that most colourful ballet score composed for Sergei Diaghilev s Ballets Russes, Petrushka.

It was not long after the scandalous premiere of Stravinsky s The Rite of Spring that Diaghilev commissioned Prokofiev to compose his first ballet, Ala i Lolli, hoping for a powerful sequel to Stravinsky s neo-primitive masterpiece. The result was loud, exuberant but hardly sophisticated or revolutionary, as Diaghilev recognized on hearing the score in progress; he persuaded Prokofiev to drop that ballet in favour of Chout, a ballet based on old Russian folktales more suited to his acerbic wit. Loathe to let his first essay in ballet go to waste, Prokofiev converted his score into the symphonic Scythian Suite, which includes its remarkable evocation of the rising sun through dizzyingly high brass writing.

Having built his reputation through shockingly brutal music, Prokofiev, who enjoyed confounding expectations, composed the Classical Symphony even while Petrograd was in the throes of revolution. Prokofiev not only had fun evoking, then subverting, the courtly manners of Haydn s style, but he also played various harmonic sleights of hand, most famously in the Gavotte. This is the aural equivalent of an M.C. Escher picture – at first glance physically plausible; Prokof iev s court ly dance gives the impression of balancing one well-turned phrase with another, but, like Escher s impossible perspectives, his cadences land on increasingly “incorrect” harmonies before finally reaching the correct key through an abrupt and unlikely modulation. More straight-forward is the exuberant finale, composed in response to a musical friend s suggestion that there was no true joyfulness to be found in Russian music. Prokofiev took up the challenge, adding the further hurdle of

Sergei Diaghilev

26 探索系列


avoiding all minor chords: ` I found the movement extraordinarily easy to write, Prokofiev confided to his diary; ` I was hugging myself with delight all the time I was composing it!´

The Classical Symphony turned out to be the last composition of Prokof iev s to be performed before he left post-Revolutionary Russia in 1918 to seek his fortune in America and Europe. One of his first commissions abroad, from the Chicago Opera Company, resulted in The Love for Three Oranges, his most successful opera in his lifetime. Based on Carlo Gozzi s commedia dell arte play, The Love for Three Oranges might have tempted another composer to revisit the neo-classical style Prokofiev essayed in the Classical Symphony: indeed, when Stravinsky first ventured into neo-classicism some three years later in his commedia dell arte-style ballet Pulcinella, he reorchestrated pieces allegedly by the 18th-century composer Pergolesi. But Prokofiev, for whom the neo-classical style was a one-off sport, intensely disliked Stravinsky s “grave-robbing” exploits in such works as Oedipus Rex and Apollon musagète; rather, Gozzi s fantastical world of magi, devils and jesters inspired his own fantastical soundworld. The suite from his opera includes his jaunty and ever-popular March and the lusciously romantic and yearning music associated with the meeting of the Prince with his Princess (shedding all remnants of parody heard at this point in the opera).

Apart from Prokof iev s Second Symphony, his nearest approach to a purely abstract orchestral work, all his subsequent symphonies were to be more straight-forwardly dramatic works, three of them even involving themes originally written for stage or screen: No. 3 is based entirely on music he originally composed for his opera The Fiery Angel; No. 4 on music for the ballet The Prodigal Son; No. 5 makes use of music originally destined for the ballet Romeo and Juliet, and also recycles cues from his score for an aborted film version of Pushkin s (as opposed to Tchaikovsky s) The Queen of Spades; and Symphony No. 7 includes several extracts originally composed for

a dramatised version of Pushkins Eugene Onegin.1929 witnessed both the death of Diaghilev and

the Wall Street Crash, plunging Europe and America into economic depression. Finding it increasingly hard to find an outlet for his talent for dramatic works, and failing even to stage his opera The Fiery Angel (which in fact was never to be produced in his lifetime), Prokofiev was increasingly drawn back to his homeland. In 1936 he finally left Paris for Moscow with his family. One of his first major compositions upon returning was his ballet score Romeo and Juliet. Prokofiev s singular achievement was to portray not only its action but also Shakespeare s vivid gallery of characters entirely through music, most notably Juliet: through Prokofiev s music we hear her developing from a mischievously playful girl to a young maiden of deep emotional maturity. A las, the politica l vicissitudes of Stalin s Russia meant the ballet was not staged until 1938, and then in an unauthorized production in Brno, Czechoslovakia. Prokofiev finally saw the ballet staged in Russia in 1940, but not before

27 New Frontier


considerable tampering with the orchestration, which was thought too delicate in its original form for the dancers to hear on stage. For this reason the orchestral suites Prokofiev drew from his ballet are of particular value as they enable us to hear the orchestral colours as he originally intended them.

From the violence of the Scythian Suite to the grace of the Classical Symphony, Prokofiev appears one of the most protean composers of the last century. One of his achievements during the Soviet years was to marry these extremes into a single style, notably in Romeo and Juliet. In his way, Prokofiev s range matched that of Stravinsky s, and for all Stravinsky s vaunted inf luence on modern orchestral music, Prokofiev s has arguably had a wider impact, reaching more listeners today than perhaps any other composer, whether through his original hits – such as the March from The Love for Three Oranges or the stomping

｀Dance of the Knights from Romeo and Juliet – or through the more subliminal influence to be heard in

Sergei Prokofiev

several dozens of modern film scores including those by John Williams and James Horner. Almost 60 years after his death, Prokofiev s orchestral masterpieces seem, if anything, more current and relevant today than they did in the last century.

＊Daniel Jaffé, reviews editor of BBC Music Magazine


28 探索系列

2012︱9/21 Fri. 19:30

探索系列永恆羅密歐Oh, Romeo!

指揮／呂紹嘉　Shao-Chia Lü, conductor小提琴／瑟吉．哈察特楊　Sergey Khachatryan, violin

李蓋提：《羅馬尼亞協奏曲》哈察圖量：D小調小提琴協奏曲普羅科菲夫：《羅密歐與茱麗葉》組曲選段GYÖRGY LIGETI: Concert Românesc ARAM KHACHATURIAN: Violin Concerto, D minor SERGEI PROKOFIEV: Excerpts from Romeo and Juliet Suites

國家音樂廳 National Concert Hall400 600 800 1000 1200 1500

無法預知的節奏，緊密相連不歇的四樂章，鬼才李蓋提的「音樂是精心建構而成，絕非『極簡』，而是『極繁』！」他的喀爾巴阡山脈企圖尋找繽紛天籟裡的「不規則碎片」；哈察圖量引用亞美尼亞民族音樂風格，這首小提琴協奏曲的經典曲碼，在第一樂章揚起時，繆思的雙腳就已經躍起邊疆民族的靈動舞步；普羅科菲夫採用獨特的主導動機、場景對位以及人物的音色塑像等手法，讓《羅密歐與茱麗葉》組曲「去借邱比特的翅膀」，旋律華麗中「負荷著愛的重擔」之陰影與悽愴。「醉心於表達亞美尼亞音樂純粹性」的小提琴金童瑟吉．哈察特楊，15歲及20歲時先後於西貝流士、伊麗莎白女王小提琴大賽奪冠，與頂尖樂團柏林愛樂、皇家大會堂、倫敦交響、慕尼黑愛樂等同台交鋒，Romeo丰采迷人；NSO音樂總監呂紹嘉輕撥大塊衝突、碎片變速的音樂張力，帶領樂團的開季之夜翱翔於凡俗愛情的枷鎖之上！

2012︱10/5 Fri. 19:30

探索系列迷幻奇航—天方夜譚Fugitive Journey—Scheherazade

指揮／簡文彬　Wen-Pin Chien, conductor小提琴／曾宇謙　Yu-Chien Tseng, violin

普羅科菲夫：《瞬間印象》(巴夏改編)第一號小提琴協奏曲李姆斯基—柯薩科夫：《天方夜譚》SERGEI PROKOFIEV:

Visions fugitives (arr. by Rudolf Barshai)Violin Concerto No.1

NIKOLAI RIMSKY-KORSAKOV: Scheherazade


〈大海與辛巴達的船〉銅管埋伏著蘇丹王弒人的動機，如淒如訴的小提琴獨奏是雪荷拉莎德溫柔安撫的心聲，迎著定音鼓破浪而來的辛巴達作了最雄壯蕩氣的開場；〈卡蘭達王子的故事〉小提琴悠悠述說另一場故事，低音管和雙簧管交替著「冒險家王子」的幽默與滑稽；〈年輕王子與公主〉撩撥一闕動人的浪漫史詩，濃郁的阿拉伯曲風舞出命運未卜的邂逅；〈巴格達節慶～大海～青銅戰士所豎巨石上的船難〉陸地到海上，劇力萬鈞翻轉，聽故事的與說故事的纏綿彼此，木管、絃樂交織一波波打擊浪鳴與海嘯……一千零一夜的管絃樂故事組曲，也是「配器」專家李姆斯基-柯薩科夫的奇幻扉頁。你的耳朵「迷航」了嗎？當指揮家簡文彬的雙手凌空、興風作浪帶來瞬間的幻影，不按牌理出牌的普羅科菲夫在浮光中找到永恆；11歲得曼紐因肯定，15歲奪西班牙薩拉沙泰首獎及最佳演奏獎，16歲榮獲柴科夫斯基評審團特別獎的台灣之光曾宇謙，今夕領航琴海。

瑟吉．哈察特楊Sergey Khachatryan

「一位擁有驚人控制力的小提琴家，他無疑地是一位最傑出音樂家。」 — 加拿大

《卡加里先鋒報》“A v io l i n i s t w i t h a n a s t on i s h i n g command of the instrument, he is no less a musician of the highest level.＂ —Calgary Herald

曾宇謙Yu-Chien Tseng

2011年贏得韓國尹伊桑國際小提琴比賽第一名暨最佳詮釋獎以及第14屆國際柴科夫斯基小提琴大賽評審團獎。First prize winner of the Isang Yun International Violin Competition and the recipient of the Jury Discretionary Aw a r d s a t t h e 14 t h I n t e r n a t i on a l Tchaikovsky Competition in 2011.

開季音樂會Season Opening Concert

©M

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29 New Frontier

2012︱10/19 Fri. 19:30

探索系列冰原烈焰Fire on Ice

指揮／奧列格．凱塔尼　Oleg Caetani, conductor鋼琴／德傑．拉錫克　Dejan Lazić, piano男低音／阿斯卡．亞德拉札可夫　Askar Abdrazakov, bass

普羅科菲夫：《三橘之戀》拉赫瑪尼諾夫：第二號鋼琴協奏曲穆梭斯基：《死神歌舞》（蕭斯塔科維契改編）蕭斯塔科維契：第九號交響曲SERGEI PROKOFIEV: The Love for Three Oranges, op.33bisSERGEI RACHMANINOFF: Piano Concerto No.2, op.18, C minorMODEST MUSSORGSKY:

Songs and Dances of Death (orchestrated by D. Shostakovich)DMITRI SHOSTAKOVICH: Symphony No.9


這是一場冰與火的冷競與熱逐！普羅科菲夫所設的「三顆橘子」戀情裡，堅持為「舞台」寫音樂的五彩歌劇，讓縛咒的王子踩著詼諧進行曲疾呼：「公主，我為妳走遍天涯！」拉赫瑪尼諾夫的第二號鋼琴協奏曲寫於虛實破碎、瀕臨崩潰邊緣的迷幻琴鍵，世人如癡如酣於天籟。抑鬱縱醉的穆梭斯基說：「死神正在歌舞！我要透過嬰兒、農民、歌手、統帥的異色音符，飆唱生命刻正消亡！」對抗蘇聯政權的熊熊意志力下，蕭斯塔科維契以輕巧曲風打破「第九」魔咒，從玩笑不羈到哀傷自省，豪嗆辛辣諷刺政局。深諳音色璀璨堂奧的奧列格．凱塔尼，身兼歌劇與音樂指揮家令人驚豔；鋼琴王子德傑．拉錫克集《留聲機》雜誌、《紐約時報》「才華橫溢」、「饒富詩意」讚譽，身價燙金；得獎無數男低音亞德拉札可夫雄渾的北國底蘊，征服全球觀眾。令人期待「四俄」「三雄」的冰原烈焰！

阿斯卡．亞德拉札可夫Askar Abdrazakov

莫斯科拉赫瑪尼諾夫大賽首獎、雅典瑪利亞．卡拉斯大賽得獎者。First prize winner of the International Serge i R achmaninof f Compet it ion Moscow and Grand Prix recipient of the Maria Callas Competition, Athens.

德傑．拉錫克　Dejan Lazić

「這自然、具有個人獨特風格的演出是來自一個具有天賦的年輕音樂家，他忠實的對待每一個音符與音樂的意念。」—英國《留聲機》雜誌

“Spontaneous, characterful per formances f rom this g i f ted young music ian, faithful to the spirit and the letter of the score＂—Gramophone

奧列格．凱塔尼　Oleg Caetani

©Su

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30 探索系列

2012︱11/24 Sat. 19:30

探索系列叛逆古典Classical & Revolt

指揮／尼可拉斯．米爾頓　Nicholas Milton, conductor雙簧管／馮思瓦．勒樂　François Leleux, oboe

普羅科菲夫：《古典交響曲》理查．史特勞斯：D大調雙簧管協奏曲李元貞：《間奏曲：商》，為管絃樂團蕭斯塔科維契：第六號交響曲SERGEI PROKOFIEV: Classical Symphony, op.25 RICHARD STRAUSS: Oboe Concerto, D major YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra DMITRI SHOSTAKOVICH: Symphony No.6, op.54, B minor


自嘲「怪誕／滑稽／可笑」的《古典交響曲》，把海頓請到現代，採用古典時期交響曲的結構／語彙及瞬間逆轉的現代和聲／節奏，是小普對古典出軌的致敬。理查．史特勞斯二戰期間意外邂逅費城管絃雙簧管首席，這位天生的melody maker於是創作了如光剔透田園史詩般的雙簧管協奏曲，反芻生命之秋。蘇維埃政權干涉下，老蕭總是尋求機會訴說內心真話，這首第六不僅擺脫標題與革命的轄制，更大膽歌頌生之喜悅。以《間奏曲：參》獲94年教育部文創首獎的新銳李元貞，寫過《晨鐘暮鼓》（打擊樂）、《花火》（絃樂）、《貓嬉》（箏與鋼琴），她的新作《間奏曲：商》要顛覆管絃之海？！叛逆，如何界說？喜為曲目注入活水的澳洲指揮家米爾頓，2004-2010德國耶拿愛樂音樂總監、2007坎培拉交響藝術總監，再次受邀來台為您揮灑解惑之棒。英國《泰晤士報》讚譽勒樂的明星風範，橫空盤旋無所限制的音域／力度來自他超凡的雙簧管演奏技巧，無人能及，非常期待！

2013︱4/6 Sat. 14:30 19:30

探索系列彼得與狼⋯⋯還有巴巴！Peter, Wolf...and Babar!

指揮／張尹芳　Yin-Fang Chang, conductor說書人／梁坤豪　Kun-Hao Liang, storyman

浦朗克：《小象巴巴》（法朗謝改編）普羅科菲夫：《彼得與狼》FRANCIS POULENC:

L'histoire de Babar, le petit éléphant (orchestrated by J. Français)SERGEI PROKOFIEV: Peter and the Wolf

國家音樂廳 National Concert Hall400 600 800

園子裡，狼來了，勇敢的彼得成了英雄！在城裡，巴巴努力克服恐懼，成了動物們在都市叢林裡的英雄！浦朗克的《小象巴巴》暢快、自由、明亮，卻仍帶點古典的拘謹，音樂語法與巴巴個性相仿，完全展露這位沒有完整音樂學院訓練的法國作曲家的個人風格。而超有玩心與童心的普羅科菲夫以樂器代表角色，開心的圖畫小男孩彼得與他的動物朋友們：彼得的晨空成了管絃樂器彼此逗陣的歡騰音籟，長笛吹出樂樂鳥的浮躁欣喜、雙簧管訴說鴨子被吃掉的哀怨、賊眼狼踩著咆嘯的銅管小調做盡壞事，呵，愛管「絃」事的彼得英雄救「貓」……。在NSO「頑皮家族」裡彈唱俱佳的梁坤豪，這次將在NSO與多媒體動畫的烘托下，從彼得與狼……到巴巴，一路解放迷人的說書功力。

馮思瓦．勒樂François Leleux

「… [ 勒樂 ] 具有明星架式。擁有非凡的技巧和個性。展現出變化無窮的音色和力度；繞樑不絕的樂音中處處閃爍著慧黠的光芒。」—《泰晤士報》

“... [François Leleux is] a star act. Herewas phenomenal skill and personality,displayed across a vast range of coloursand dynamics, delivered with winkingwit through an oboe constantly circlingthe air.＂ —The Times

NSO永遠的童話NSO Forever Tales

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31 New Frontier

尼可萊．阿雷席夫Nikolai Alexeev

「在尼可萊．阿雷席夫的指揮下，交響樂團營造出溫潤、明亮的樂音。」—《沙加緬度蜂報》“Under conductor Nikola i A lexeev, the orchestra affected a lush, burnished sound.”—The Sacramento Bee

2013︱4/27 Sat. 19:30

探索系列琴劍交鋒Lightening on Keyboards

指揮／尼可萊．阿雷席夫　Nikolai Alexeev, conductor鋼琴／拉貝克姊妹　Katia & Marielle Labèque, piano

普羅科菲夫：《基傑中尉》組曲浦朗克：D小調雙鋼琴協奏曲普羅科菲夫：第五號交響曲SERGEI PROKOFIEV: Lieutenant Kijé Suite, op.60 FRANCIS POULENC: Concerto for 2 Pianos, D minorSERGEI PROKOFIEV: Symphony No.5, op.100, B-flat major


基傑中尉是電影裡虛設的人物，普羅科菲夫為表達一連串荒誕諷刺的劇情，用薩克斯風當主奏大秀管絃樂法的創新，片羽間竟又倚著夢幻華燦的雪景。反觀寫於二戰德俄對峙的第五號交響曲，作曲家褪去反骨外衣，從砲火、哀喪、旺盛生命力的深處，譜出樂章間淋漓盡致、綿密緊扣的動機關聯，大師光芒乍現。被詩人考克多戲稱「半是豬玀半是聖徒」的浦朗克，駕馭奇特的機智幽默和法蘭西文人的浪漫風景，他的雙鋼琴協奏曲迤邐於競力、逐鋒的邊境，是莫札特以後琴空變速的霹靂之作。鍵影氤氳的音浪裡，鋼琴家拉貝克姊妹聯彈，交戰過柏林愛樂、維也納愛樂、倫敦交響、巴伐利亞廣播、萊比錫布商大廈與美國五大樂團；卡拉揚指揮大賽首獎得主暨愛沙尼亞國家交響樂團藝術總監阿雷席夫，數次來台風靡島嶼，他的指揮棒下對「輕」的禮讚，隱含對「重」的敬意。

2013/4/28 Sun. 19:30 巡演400 600 800 1000

拉貝克姊妹Katia & Marielle Labèque 「樂譜上的經緯線很少被如此真實地呈現，樂曲中的問答對話是如此地完美與均衡。」 —英國《留聲機》雜誌“Rarely has the weft and warp of the score been so realized, its question-and-answer dialogue with such perfect (and natural) even-handedness.”—Gramaphone


32 探索系列

2013︱6/7 Fri. 19:30

探索系列鐵血柔情Iron & Poetry

指揮／呂紹嘉　Shao-Chia Lü, conductor鋼琴／鄧泰山　Dang Thai Son, piano

普羅科菲夫：《灰姑娘》第一號組曲　第三號交響曲蕭邦：第一號鋼琴協奏曲SERGEI PROKOFIEV:

Cinderella Suite No.1, op.107 Symphony No.3, op.44, C minor

FRÉDÉRIC CHOPIN: Piano Concerto No.1, op.11, E minor


當題材／樂思／表演都十分另類敗德、也非常政治不正確的歌劇《火焰天使》（The Fiery Angel）被禁演，深怕傑作從此人間蒸發的普羅科菲夫，萃取其中片段寫成了第三號交響曲。令人不禁暗想，故事裡那個被心魔糾纏而瘋癲的少女最後被判火刑的吶喊，後來是否僭越了那片鐵血逆流的交響大海？當維也納熱情歡迎蕭邦的鋼琴曲，那時他也憂鬱單戀著夢中情人康絲坦斯嘉（Konstancja Gladkowska），生命中唯二的兩首鋼琴協奏曲於焉誕生，也是他告別家鄉華沙的最後回眸。華麗炫技中，舒曼正以「他的音樂裡，人們會發現鮮花中藏著槍砲」讚嘆著！鄧泰山，首位奪得國際蕭邦鋼琴大賽首獎的亞裔鋼琴家，小提琴大師艾薩克．史坦以「天才音樂家」讚譽他，其名字幾乎等同於鋼琴詩人。鐵血還是柔情，NSO音樂總監呂紹嘉在探索系列裡，今夜要以「俄」了的心房，深情簇擁琴鍵壓軸的「波」瀾絢麗。

鄧泰山Dang Thai Son

「一位天才音樂家。」 —艾薩克．史坦“A genuine musician＂ — Isaac Stern

呂紹嘉Shao-Chia Lü


牧神與愛神 The Greek Myth酒神與海妖 An Evening with Bacchus心靈聖詠 Song of Soul絕技沙龍 Salon for Virtuosi暮光草原 Twilight in Scythia漫步展覽會 Promenade at the Exhibition海之詩 Poème de la mer

法國音樂特有的氣韻與美感，

到德布西與拉威爾手中達到登峰造極的境界，

使得世紀交接之際的法國音樂，

釋放著令人無法抗拒的致命吸引力。

—呂紹嘉

法蘭西系列Kaleidoscopic France


34 法蘭西系列

「浪漫」的晚霞「現代」的晨曦 — NSO的「世紀末法蘭西系列」文／陳漢金

法國音樂的發展，在19、20世紀之交—也就

是所謂的「世紀末」，達到了一個巔峰，而被音樂史

家狄福克（N. Dufourcq）稱為「第四個黃金時代」

（前三個黃金時代是中世紀、文藝復興以及18世紀

前半）。這個流派紛起，人才輩出的「世紀末」，一方

面是整個19世紀浪漫時期的結尾，另方面則是20世

紀現代音樂的開端；在其間，傳統與創新彼此激盪，

「浪漫」的晚霞，與「現代」的晨曦交互輝映，將藝術

的天空照耀得非常絢爛、美麗。NSO新樂季總共7場

的「世紀末法蘭西系列」，結合國內外名家的演出，

為這個時代的法國音樂提供了一個廣度與深度都相

當充分的全景，頗值得我們期待。

「溫和的浪漫」：聖桑斯與拉羅

法國藝術的發展，在1870年普法戰爭之後，才

逐漸進入所謂的「世紀末」：戰爭的失利，對社會造

成重大的衝擊，並激發了知識分子的省思，促成了

藝術創作上的變革。然而在戰前的「第二帝國」時期

（1852-1870），法國的藝術卻是相當傳統、保守的。

在拿破崙三世統治的這個時代，19世紀初風起雲湧

的革命時空早已成為過去，白遼士、李斯特、蕭邦式

的「激情浪漫」也不復可聞，取而代之的是一種太平

盛世歌舞昇平的、取悅中產階級的藝術，在美術界，

「學院風格」（académisme）成為主流，在音樂界，

音樂學者錫雍（M. Chion）稱之為「溫和的浪漫」

（romantisme modéré）。

「溫和浪漫」的作曲家們熱中於歌劇的創作，而

甚少創作器樂曲—器樂曲沒有歌詞，顯得較抽象，

一般中產階級較難領受。歐芬巴赫（J. Offenbach）

的諧歌劇（opéra bouffe）與古諾（Ch. Gounod）、

托瑪（A. Thomas）、聖桑斯（C. Saint-Saëns）、比

才（G. Bizet）、馬斯奈（J. Massenet）的抒情歌劇

（opéra lyrique）同樣廣受歡迎，然而他們的器樂作

品卻是少之又少，與同時期日耳曼作曲家們以器樂

創作為主的狀況正好相反。

這些「溫和浪漫」作曲家中，較熱衷於管絃樂與

室內樂創作的兩位是拉羅（E. Lalo, 1823-1892）與

聖桑斯（1835-1921）。他們在普法戰前雖已開始嘗

試器樂的創作，但數量甚少，直到戰後，才意識到，

法國在器樂方面遠落後於日耳曼，從此才有系統的

大量創作器樂。例如NSO將演出的聖桑斯A小調第

一號大提琴協奏曲，拉羅的D小調大提琴協奏曲，都

是完成於戰後的1870年代；這兩首協奏曲充分具現

出同時期法國一般器樂曲「溫和浪漫」的特徵：古典

的形式與小格局；對細緻音色、音質變化的注重；曲

風相當清澈、明晰、委婉、敏銳、高雅。這些傾向於女

性化的法蘭西特質，與同時期日耳曼浪漫音樂大起大

落，雄渾壯闊的陽剛氣質，形成了明顯的對比。

日耳曼音樂的催化—法朗克與「國協」

普法戰爭的失利不只刺激了拉羅與聖桑斯，事

實上，它影響了日後整個法國音樂的走向。戰敗的

次一年（1871年），法國的主要音樂家們共同創立

一個推展音樂的機構—國家音樂協會（Société nationale de musique, 以下簡稱「國協」），他們喊出

「振興高盧藝術」（Ars Gallica）的口號，企圖在音

樂創作上尋回法蘭西的自尊。「國協」最初幾年的活

動，主要是鼓勵器樂曲與藝術歌曲的創作與演出，這

兩個領域是日耳曼音樂「霸權」的強項，卻是法國的

弱點。這幾年的努力，主要是由聖桑斯為首，以上述

「溫和浪漫」風格為主流。

到了1880年代前後「國協」逐漸分化成兩派，一

派是仍舊以聖桑斯為首，較侷限於發揚法蘭西傳統

精神的「傳統派」；另一派則是以法朗克（C. Franck, 1822-1890）帶頭，主張廣泛學習日耳曼音樂的長處，

尤其是華格納與李斯特頗具前瞻性的語法—華

格納的音樂尤其在1876年首屆「拜魯特音樂節」獲

得成功之後，聲名大噪，甚至讓法國的許多知識分

子、音樂家都深深著迷、廣受影響。這派人士主張，

法國音樂必須同時是「民族的」與「國際的」，必須

兼容傳統與現代，在發揚法蘭西的傳統之際，還要

列維-杜美爾（L. Lévy-Dhurmer）：《牧神午後》。

35 Kaleidoscopic France


效法華格納「未來音樂」的創新概念。這些人之中，

大部分是法朗克的學生，因而被戲稱為「法朗克幫」

（bande de Franck），他們在1880年代以後逐漸取

得優勢，不僅主宰國協，也主導整個法國樂壇，直

到20世紀初年。法朗克幫之中，較知名的作曲家有

迪帕克（H. Duparc, 1848-1933）、丹弟（V. d Indy, 1851-1931）、蕭頌（E. Chausson, 1855-1899）、皮耶

內（G. Pierné, 1863-1937）。夏布里耶（E. Chabrier, 1841-1894）與佛瑞（G. Fauré, 1845-1924）雖不是

該幫成員，卻是他們的朋友或「同路人」。年紀較輕

的德布西（1862-1918）與拉威爾（1875-1937），雖不

是法朗克的學生，他們早年的一些創作都深受這位

大師的影響。

NSO新樂季中，排出了下列多首相關曲目：法朗

克的F小調鋼琴五重奏（1879），雖不像他的鋼琴與

小提琴奏鳴曲那麼著名，卻頗具歷史意義：他是法

朗克第一部承受華格納影響的創作。曲中某些具有

相當大膽和聲的、顯得相當不穩定的「德式」段落，

（與平靜柔和、晶瑩剔透的「法式」段落形成強烈

的反差。法朗克的鋼琴獨奏曲《前奏，聖詠與賦格》

（1884），同時具有巴赫與孟德爾頌管風琴音樂的影

子；此曲與法朗克的另一首名作D小調交響曲（1887-1888），都採用「循環形式」（forme cyclique）的手

法，讓一個主要主題在同一首曲子的不同段落，或

不同樂章中一再重現、變化；這種手法與李斯特「主

題變形法」或華格納「主導動機」的應用類似。法朗

克的《賽姬》（Psyché, 1887-1888）是一部分成四大

段、將近30分鐘的大型交響詩，曲中，《崔斯坦與伊

索德》式的激情與《帕西法爾》式的靈性光輝相互消

長，此起彼伏。

蕭頌的藝術歌《愛與海之詩》（Poème de l’amour

et de la mer, 1882-1890）的呈現方式相當獨特：它是

為聲樂獨唱、鋼琴與管絃樂而寫的；大起大落的獨

唱令人聯想到華格納的聲樂處理；獨唱帶出來的詩

意，被器樂充分加以渲染、擴充，鋼琴與管絃樂激

盪出波濤洶湧的、華格納式的激情。蕭頌的《D大

調鋼琴、小提琴與絃樂四重奏的協奏曲》（Concert

pour piano, violon et quatuor à cordes, en ré majeur, 1889-1891），在融合德、法音樂精神上，更是處心積慮：

根據蕭頌自己的解釋，「協奏曲」一詞（concert而非

concerto），源自18世紀初庫普蘭（F. Couperin）與

拉摩（J.-P. Rameau）的室內樂處理方式。該曲第二

樂章「西西里舞曲」（Sicilienne）無疑是回到法國古

代「舞樂組曲」的傳統。

擺脫華格納的陰影—佛瑞與「獨協」

儘管「法朗克幫」將法國音樂帶離因循與守

舊，可是在「仇德」情緒高漲的當時，他們過度日

耳曼化、華格納化的表達方式，難免激起批評與責

難—音樂界普遍憧憬著某種更純粹的法蘭西音

樂；擺脫華格納的陰影應是當務之急。佛瑞原是「國

協」的成員，眼見著該會過度日耳曼化的傾向，同時

封丹-拉圖爾（H. Fantin-Latour）：《在鋼琴旁》（1885年）；一群崇拜華格納的人士，恭敬的聆聽著夏布里耶演奏華格納的樂曲，右邊第二人是作曲家丹弟。


36 法蘭西系列


亞斯與梅麗桑德》（1898），是為比利時象徵主義作

家梅特林克（M. Maeterlinck）的劇作譜寫的戲劇音

樂，飄渺、神秘的曲風，將在數年後德布西的同名歌

劇中（1902年），被發揚光大。

「印象派音樂」？— 德布西與拉威爾

在1890年代前後崛起的德布西，他的作品先是

經常由「國協」演出，後來也在「獨協」演出，他卻不

屬於任何宗派，而能夠博採諸家的長處，發展成獨特

的語法，終在跨入20世紀之後，成為影響法國現代

音樂最深遠的作曲家。佛瑞的音樂儘管細緻微妙，

他的語法卻總是停留在19世紀，曲風經常流露出一

種迎合上流社會品味的「沙龍氣息」，儘管這種氣質

並不流於俗氣。德布西在旋律、節奏、和聲、音色中

所施展的奇幻、多變的「音樂煉金術」，卻一直讓當

時的藝文界感到無所適從—他的語法雖建築於19世紀的基礎上，卻迎向新的世紀。

拉威爾是佛瑞的學生，比德布西小一輩，他早年

的語法不無受到德布西的影響，然而一等到他充分

成長、獨立之後，卻反過頭來影響德布西，兩人甚至

成為多少具有「瑜亮情結」的朋友與對手。拉威爾繼

德布西之後研創出來的某些「迷幻」的新穎和聲、音

響效果，將被德布西沿用；拉威爾較炫技性的、格局

較寬廣的鋼琴語法、管絃樂法，尤其激發德布西擺脫

他早年規模較小、過於含蓄委婉的表達方式。拉威爾

也同時承受恩師佛瑞的影響，在結構與組織上顯現

出較明確、較「古典」的傾向，音色較明亮多彩，這些

特點都與德布西較陰鬱、曖昧的「中間色調」（demi-teinte）大異其趣。

佛瑞、德布西與拉威爾擅場的19、20世紀之

交，法國的藝術氣氛已逐漸遠離1850年到1880年代

從「寫實主義」到「印象派」一脈相成的表達方式：

那是一種客觀的、分析的、描繪表象的美學。取而

代之的是一種暗示心境深處細微變化，憧憬著不可

及的幻境與夢境，洋溢著靈性與神祕的「象徵主義」

（Symbolisme）。寫實主義與印象派的藝術有如散

文般的平鋪直敘，象徵主義的藝術則像詩一般的「言

有盡，意無窮」，令人低迴、沉思；印象主義是日常生

活的、具體的、「白天」的藝術，象徵主義則是脫離日

常生活的、悠遠而抽象的「夜間」藝術，充滿稀罕、神

秘、奇幻的驚訝。

舉NSO將演出的德布西、拉威爾的作品為例，

也為了更進一步擺脫法國樂壇的因循守舊，於是在

1909年創立「獨立音樂協會」（Société indépendante de musique, 以下簡稱「獨協」）。「獨協」的會員

以佛瑞的學生為主：拉威爾（M. Ravel）、卡普列

（A. Caplet）、柯克瀾（Ch. Koechlin）、史密特（Fl. Schmitt）……。

「獨協」的成員們嘗試遠離日耳曼調性音樂

（tonality）式的厚重、充滿張力的語法，而以法國古

代「調式音樂」（modality）式的靜態、不強調張力，

顯的較多彩、較清澈的語法取代之；他們將華格納式

的誇張風格、大膽的和聲，轉化成饒富法蘭西韻味

的細緻委婉、富於色調變化的效果。這種「法國風」

的取向，儘管佛瑞的老師聖桑斯已進行初步的嘗試，

卻留下了許多更進一步開發、探究的可能，有待佛瑞

以及更年輕的德布西與拉威爾去開創出另一片新天

地。

事實上，佛瑞早在創立「獨協」之前，已慢慢的

進行著上述的轉化。從NSO將演出的他的三部作

品，可看出這個轉化的歷程：為鋼琴與管絃樂的《敘

事曲》（Ballade, op.19, 1879-1881）是為「國協」的演

出而創作的，而且是題獻給聖桑斯的，該曲普遍洋

溢著法式魅力的音樂中，某些段落裡卻隱藏著〈林

中細語〉（《齊格飛》）的痕跡。再晚幾年完成的巨作

《安魂曲》（Requiem, 1888-1891），佛瑞「轉化」的

更充分了：他避開了傳統安魂曲中固有的死亡的威脅

與恐怖，而強調往生之時的超脫與寧靜，佛瑞的學生

伏伊耶莫茲（E. Vuillermoz）因此稱此曲為「往生者

的搖籃曲」，哲學家楊科勒維契（V. Jankelevitch）則

以「無痛苦死亡」或「安樂死」（euthanasia）這個醫

學名詞來形容此曲。比《安魂曲》再遲數年的《佩利

佛瑞與他的學生們；左邊第三人是拉威爾。



夏卡爾（M. Chagall）：〈夏日中午〉；夏卡爾為田園劇《達夫尼與克蘿伊》1956年再版繪製的一系列插畫之一。

曲》類似，舞劇音樂《達夫尼與克蘿伊》（Daphnis et

Chloé, 1907-1909）也憧憬著悠遠的古希臘，渲染出

古代一部田園劇（pastorale）如夢似幻的意境。畫家

夏卡爾（M. Chagall）也曾為這部田園劇的現代再版

繪製一系列的版畫插圖（1956年），這些版畫與拉威

爾的舞劇音樂前後輝映，異曲同工，同樣以敏銳的色

彩、節奏變化，流暢的線條或旋律，生動的韻律，經

營出一幅幅引人遐思的幻景。

「世紀末」的時空被第一次世界大戰終結之後，

德布西已在1918年過世，拉威爾則繼續活躍於兩次

世界大戰之間的樂壇。在這個被法國人稱為「狂熱

年代」（Années folles）的1920年代，藝術創作反映

出一種放鬆的、時髦的、享樂主義式的時代精神，簡

潔明晰、亮麗迷人的「新古典主義」成了主流。新古

典主義的法國音樂仍然延續戰前德布西、拉威爾開

發出來的種種新穎的效果，卻將戰前「美好年代」音

樂的繁複簡易化、通俗化了。NSO將演出的下列三

首樂曲，具現出這些特質：拉威爾的《庫普蘭之墓》

（1917-1920）；盧賽爾（A. Roussel）的《酒神與亞麗

安娜》（1930-1931）；浦朗克（F. Poulenc）的雙鋼琴

協奏曲（1932）。

＊陳漢金，巴黎第四大學音樂學博士，臺灣師範大

學副教授

它們都體現出上述種種「象徵」的特質，欣賞這每

一首音樂時，我們好像進入時光隧道，逃脫了現實

世界，到悠遠、子虛烏有的時空中去經歷幻境與夢

境—宛如「世紀末」的「頹廢」人士吸食鴉片或

大麻之後產生的幻覺一般。德布西的成名作《牧神

午後》前奏曲（1894）是古希臘神話中的幻象；交

響樂三連作《夜曲》串連了三個大異其趣的「印象」

（images），而非「實像」（pictures）：〈雲〉、〈節

慶〉與〈海妖〉。〈伊貝利亞〉是三個管絃樂《意象》

（Images）的中間樂章，那是德布西做白日夢式的西

班牙「神遊」—德布西並未到過西班牙。三首交響

樂素描《海》（1904-1905），正如歌劇《佩利亞斯與

梅麗桑德》中，古堡外遠接天邊的大海一般，充滿著

神祕與未知，暗示著情慾的起伏。

拉威爾為獨唱與管絃樂的歌曲集《天方夜譚》

（Shéhérazade, 1903），憧憬著遙遠的東方；《小丑的

晨歌》（Alborada del Gracioso, 1904-1905）與德布西的

〈伊貝利亞〉類似，是個西班牙意象；室內樂《序奏

與快板》（1905）與上述蕭頌的D大調協奏曲類似，

回溯到法國音樂的另一個黃金時代去尋找靈感—

庫普蘭與拉摩活躍的18世紀初。與《牧神午後前奏


38 法蘭西系列


The Developments in French Orchestral Music after 1870by Lesley A. Wright

Though France has long favored opera and ballet over instrumental genres, in the later nineteenth century an increasing number of French composers turned to writing orchestral music, whether absolute music like symphonies and concertos or (more often) mildly to strongly programmatic works. Through the inf luence of Wagner and Liszt, cyclical themes and a strong chromaticism also entered their musical vocabulary, and much of this orchestral repertory is dramatic, evocative, and/or colorfully scored. The founding of multiple concert societies had much to do with the explosion in orchestral repertory, because composers eagerly seized upon these new performance opportunities. Of course, French interest in ballet and opera did not disappear either, so orchestral works that transcribed or repackaged material originally conceived for these text and theater-based narratives also became part of concert repertory.

In 1877 Édouard Lalo wrote his only cello concerto in collaboration with his soloist, the cellist Adolphe Fischer, and was rewarded with a successful

premiere at the Concerts Pasdeloup. Though his career had been slow to gain momentum, the support of Jules Pasdeloup and the other conductors of that time, Charles Lamoureux and Édouard Colonne, not to mention access to the Société nationale de musique (founded in 1871) made his name and others familiar to the public. The Concerts Pasdeloup (1861-1884, restarted in 1919), Orchestre Lamoureux (founded in 1881), and Concerts Colonne (founded in 1873/74) still offer performances in Paris.

In 1934 Pierre Monteux conducted the premiere of the second suite that Albert Roussel extracted from his sumptuous score of the successful ballet Bacchus et Ariane (premiered at the Paris Opera, 1931) for a performance at the concert series of the Orchestre symphonique de Paris. This short-lived group had been created by wealthy sponsors in 1928 to present little known repertory and new works (much like the nineteenth-century orchestras that supported Lalo’s early career).

The two works by Lalo and Roussel are the

Titian: Bacchus et Ariane (1522-23)



outliers in this concert series that focuses on repertory created during the great spurt of orchestral activity that emerged in Paris after 1870. The repertory also focuses on the principal musical styles that coexisted and competed with one another in the period 1890-1920: French Romanticism (showing more or less inf luence of the New German School) and Impressionism.

The outlets for composers of serious orchestral works had not always been so numerous in Paris as they were after 1870, for in the first half of the nineteenth century only one series was active: the Société des concerts du Conservatoire (founded in 1828)—in the 1960s it would become the Orchestre de Paris. Kern Holoman has explained the small number of premieres that took place there because of the society’s view that “the very arrival of a work in the hall of the Conservatoire was tantamount to its canonization.” But in its most significant world premiere, this society in 1889 offered a recently completed piece by the beloved Conservatoire professor, César Franck— his Symphony in D minor. One of the few Romantic French symphonies after Berlioz to enter the international canon of symphonic music, this three movement work expresses Franck’s reverence for Beethoven and his belief in Lisztian cyclic principles, and also uses Franck’s distinctive musical language of “serene anxiety.”

Of the groups founded a f ter the Franco-Prussian War, the most significant for young French composers of serious music was the Société Nationale de musique. Its nationalist motto “Ars Gallica” fits with its specific goal of providing the opportunity for performances of works by young French composers. Here, in 1881, Fauré was the soloist for the premiere of his lyrical Ballade, op. 19, for piano and orchestra. Broadening its purview to include works by foreign composers and deceased native sons, the society also gave its first public concerts in the late 1880s, but it retained its commitment to new French works by living composers. In 1888 they presented Franck’s Psyché, his last symphonic poem (for chorus and orchestra), which has been described by some as a love-symphony. Its evocative score features rich, dark sound. The Society later welcomed the Impressionists, too. Debussy, too, wrote a symphonic poem. But his Prélude à l’après-midi d’un faune is tied in mood and structure to Mallamé’s symbolist poem of the same name and the 1894 performance of this landmark composition is said to have begun a new era in music. In 1904 the young Ravel also turned to the Société for the première of his Schéherezade, a song cycle for soprano and orchestra to poetry by Tristan Klingsor; despite the latter’s Wagnerian nom de plume, Ravel’s score, tinged with exoticism, looked to the future in its harmony and orchestration.

Claude Debussy Camille Saint-Saëns


40 法蘭西系列


Ravel also turned to the Association Artistique des Concerts du Châtelet (ca l led the Concerts Colonne), a group that had been founded with the intent of featuring young French composers. Indeed Colonne’s f irst program for the Association in 1874 included Saint-Saëns and Massenet as well as Mendelssohn and Cherubini. Colonne also supported the Russian school, Richard Strauss and Grieg and, as early as 1895, introduced Debussy’s Prélude à l’après-midi d’un faune to the greater public. It was Colonne’s successor, Gabriel Pierné, who in 1911 first conducted Ravel’s Daphnis et Chloé Suite No. 2. Drawing from his largest work and one of most important ballet scores of the twentieth century, Ravel chose excerpts that deal with celebration, including the magical “Lever du jour” and the “Danse générale,” which challenged Sergei Diaghilev’s ballet dancers with its 5/4 meter.

The Société des Nouveaux Concerts featured

Debussy in the premieres of several orchestral works. During the late nineteenth century, Lamoureux had championed Wagner and other Wagnerians, both French and German. His son-in-law, Camille Chevillard, continued this bent, but also supported his French compatriots, l ike Debussy, for the f irst complete performance of the Nocturnes in 1901—three symphonic poems inspired by the canvases of American painter, James Whistler— and the masterful score of La mer (premiere 1905). The latter was programmatic as well, but found its inspiration in nature alone, its “dialogue” one of wind and waves.

Neither Debussy nor R avel ever wrote a symphony. In fact, relatively few works in this concert series are “absolute” music. Certainly Saint-Saëns’ accomplished Cello Concerto No. 2 (1902) fits this category, as does Chausson’s Concerto in D (1892). So, too, does Ravel’s lovely Introduction et

Katsushika Hokusai (1760–1849) : The Great Wave off Kanagawa The woodblock print inspired Debussy's symphonic sketches La Mer.



A scene from the 1902 premiere of Debussy’s opera Pelléas et Mélisande.

allegro (1905); originally commissioned by Érard, a firm that manufactured the pedal harp, it features the interplay and instrumental colors of harp, f lute, clarinet and strings. But though Ravel’s Tombeau de Couperin has neutral titles like Prélude or Forlane, it is programmatic, each piece dedicated to one of Ravel’s friends who died in World War I. This brilliant orchestration/ recomposition (1920) of selections from the piano suite of 1914-17 also pays homage to the great French Baroque master, François Couperin. In his Alborada del grazioso (Morning Song of the Jester), Ravel orchestrates yet another piano piece (from Miroirs, 1904-05, orch. 1918) and creates an image of Spain, a place he visited numerous times, starting in 1911. Debussy, however, never visited Spain, but with Ibéria (premiere 1910) vividly painted its streets and festivals. Fauré’s suite from Pelléas et Melisande, op. 80 is programmatic in a more overt way, for it is drawn from the incidental music (1898) of elegance and refinement for the play by Maurice Maeterlinck. (Debussy actually turned down this commission.) Though more strongly associated with song and chamber music, Fauré created his symphonic masterpiece here. He reorchestrated selections from the incidental music for the suite’s premiere at the Concerts Lamoureux in 1901.

Composed after the death of both his parents, Fauré’s Requiem is one score in this concert series whose origin owes nothing to the existence of the Parisian orchestral societies. This monument of the choral repertory, and one of the most original requiems of the nineteenth century, was f irst performed in 1888 at the Madeleine church in Paris. The score, originally for organ and chamber orchestra, is characterized by a melodic simplicity and suppleness that ref lect Fauré’s familiarity with plainchant. It teems with the unique and subtle harmonies that add distinctive color to Fauré’s music. The composer reworked the score several times and seems to have also authorized a full orchestra version that had its premiere during the Paris Exposition of 1900.

Among these selections of absolute, programmatic

and choral music are works that form part of every orchestra’s repertory as well as others that are not as frequently performed as their intrinsic merit would justify. Still, if a French composer is principally concerned with intelligence and the senses (as Martin Cooper has suggested), the music heard in these concerts should satisfy the listener through mind, ear and imagination; at times, it may even reach a sublime and soul-nourishing beauty, “something which the French consider a by-product” (again Cooper). Experiencing their variety and loveliness, however, make it easy to feel gratitude not only to the orchestral societies that served as midwives for this repertory’s birth but also to the performers who bring it to life again today.

＊ Lesley A. Wright, Professor of Musicology at the University of Hawai’i at Mānoa


42 法蘭西系列

2012︱9/29 Sat. 19:30

法蘭西系列牧神與愛神The Greek Myth

2012︱10/27 Sat. 19:30

法蘭西系列酒神與海妖An Evening with Bacchus

指揮／費比恩．蓋柏　Fabien Gabel, conductor大提琴／葛替耶爾．卡普頌　Gautier Capuçon, cello國立實驗合唱團　Taiwan National Choir

拉威爾：《庫普蘭之墓》聖桑斯：第一號大提琴協奏曲德布西：交響組曲《夜曲》盧賽爾：《酒神與亞麗安娜》第二號組曲MAURICE RAVEL: Le Tombeau de Couperin CAMILLE SAINT-SAËNS: Cello Concerto No.1CLAUDE DEBUSSY: Nocturnes ALBERT ROUSSEL: Bacchus et Ariane Suite No.2, op.43


庫普蘭約與巴赫同時代，是鍵盤演奏名家，更是法國音樂先趨，影響後代深遠。拉威爾譜寫鋼琴曲《庫普蘭之墓》向前輩致意，每首又分別獻給第一次世界大戰為國捐軀的友人。濃濃思古幽情中，閃現新穎的現代和聲，樂思更隱含深意。後來作曲家抽選四曲編成管絃樂，一樣是音樂會經典之作。聖桑斯第一號大提琴協奏曲，力道飽滿，全曲各段相連、一氣呵成近二十分鐘，在法國大提琴巨星葛替耶爾．卡普頌的執弓下，勢將撼人心絃。受到畫家惠斯勒作品啟發，德布西《夜曲》以管絃樂素描時、物與自然，從〈雲〉、〈節日〉，以至第三樂章〈海妖〉，無歌詞的女聲合唱，神秘、充滿誘惑，聽覺猶如捲入耳堝的神祕漩渦中。酒與海看似危險，都使人心醉神迷，盧賽爾芭蕾舞劇《酒神與亞麗安娜》取材希臘神話，第二號組曲漸次醞釀，終至結尾的酒神祭，樂音陷入集體狂歡，相當酣暢淋漓。

瑟吉．納卡里亞可夫Sergei Nakariakov

「近幾年很難找到如瑟吉．納卡里亞可夫如此出色、有表現性與風格鮮明的演奏家。[...] 不僅是技巧，在風格上他亦能透過其出神入化的演奏能力將作品淋漓盡致的完美展現。」—《紐倫堡日報》

“Selten in den letzten Jahren hat man einen Musiker erlebt, der so virtuos, so ausdruckstark und stilsicher spielen kann wie Sergei Nakariakov. [...] Nicht nur technisch, er stellt seine fulminante Virtuosität auch in den Dienst einer stilistisch perfekten Anverwandlung.＂ —Nürnberger Nachrichten

葛替耶爾．卡普頌Gautier Capuçon

「這位才華洋溢的大提琴家連音階練習的音色都能讓聽眾著迷：溫柔且明亮、扎實又深沉、燦爛且強壯有力。」—《舊金山信使報》 “This greatly gifted cellist has the kind of tone that could make a listener swoon if he were only playing scales — a tone tender and bright, firm and deep, lustrous and sinewy..＂ —Mercury News San Francisco

指揮／呂紹嘉　Shao-Chia Lü, conductor小號／瑟吉．納卡里亞可夫　Sergei Nakariakov, trumpet

德布西：《牧神午後前奏曲》柴科夫斯基：《洛可可主題變奏曲》（改編給小號）法朗克：《賽姬》拉威爾：《達夫尼與克蘿伊》第二號組曲CLAUDE DEBUSSY: Prélude à l’après-midi d’un faunePYOTR ILYICH TCHAIKOVSKY:

Variations on a Rococo Theme, op.33 (arr. for trumpet)CÉSAR FRANCK: PsychéMAURICE RAVEL: Daphnis et Chloé Suite No.2


19世紀末，法國籠罩在一片「印象」中，德布西感受時代的氛圍，呼應馬拉美詩作，譜寫革命性的《牧神午後前奏曲》，以獨特音樂語彙，在慵懶虛幻的田園牧歌中，開創古典音樂的全新時代，也為NSO「法蘭西系列」舒展出第一道音色。同樣和牧神有關，管絃聖手拉威爾，1909年受俄國芭蕾舞團委託，創作《達夫尼與克蘿伊》舞劇，描述一對苦命戀人、在牧神幫助下終成眷屬。1912年由當時芭蕾舞界超級巨星尼金斯基首演，斯特拉溫斯基盛讚為法國最美的音樂。其後作曲家自舞劇選出兩首組曲，第二組曲如同《波麗露》，是音樂會常客。牧神與愛神丘比特，都是男女情感的促成者，但在希臘神話中，丘比特也曾陷入情網，愛上絕世美女賽姬，卻遭受母親維納斯阻撓。這段曲折苦戀，被法朗克靈感的箭射中，譜寫成《賽姬》，在平緩纏綿中，吹奏人間的至情至性。

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2012︱12/8 Sat. 19:30

法蘭西系列心靈聖詠Song of Soul

指揮／呂紹嘉　Shao-Chia Lü, conductor女高音／林慈音、林孟君　Grace Lin / Meng-Chun Lin, soprano低男中音／蔡文浩　Wen-Hao Tsai, bass-baritone台北愛樂合唱團　Taipei Philharmonic Chorus

洪崇焜：《聲音》法朗克：D小調交響曲佛瑞：《安魂曲》（室內樂版本）CHUNG-KUN HONG: VOXCÉSAR FRANCK: Symphony, D minor GABRIEL FAURÉ: Requiem, op.48 (chamber version)


一位大器晚成，在人生黃昏才成名的作曲家，其創作會是多麼誠懇動人？這就是法朗克。畢生安於工作與生活，篤信宗教，對作品要求完美，直到60多歲才發表扛鼎巨作D小調交響曲。此曲以「循環形式」譜成，由三個動機支配全局，在樂思流動變化中，道出人生的孤獨與幽暗，展望未來生活之美好。1889年首演，觀眾呵欠連連；隔年再演竟大受歡迎，「人們終於了解我了！」法朗克如是說。無奈命運捉弄，一個月後他遭馬車撞傷過世，肯定還是來得太晚太遲。《安魂曲》可說是佛瑞音樂藝術的極致：父親過世後動筆、母親於譜寫期間往生，最後，卻是在自己的喪禮中被演出，如同電影《送行者》扭轉世人對殯葬的看法，此曲散發出法國音樂特有的優美抒情，簡練、寧靜，沒有恐懼只有安慰，在聖潔詠唱中，讓死亡不再是末日審判，而是心靈的解放與安息。

林慈音Grace Lin

以特優演唱文憑畢業於英國皇家音樂院。曾獲2001年世華聲樂大賽新秀獎及2006年曼谷國際聲樂大賽季軍。Gained BMus degree and Performance Diploma with Dist inct ion at Roya l Academy of Music in London. Winner of the Young Singer Prize of Taipei Mondial Chinese Vocalist Concours in 2001 and the 3rd Prize of the Bangkok International Vocal Competition in 2006.

2013︱2/28 Thu. 19:30

法蘭西系列絕技沙龍Salon for Virtuosi

鋼琴／白建宇　Kun-Woo Paik, pianoNSO 獨奏家群　NSO Musicians

法朗克：《前奏曲、聖詠與賦格》佛瑞：《敘事曲》，為鋼琴與管絃樂團蕭頌：D大調協奏曲，為小提琴、鋼琴、絃樂四重奏CÉSAR FRANCK: Prélude, Choral et FugueGABRIEL FAURÉ: Ballade for Piano and Orchestra, op.19 ERNEST CHAUSSON:

Concert for Violin, Piano, String quartet in D major


《前奏曲、聖詠與賦格》，是最能體現法朗克個人獨創性的鋼琴曲。運用半音化和聲、循環形式、後起拍節奏、簡短的主題動機等技巧，此曲既有虔誠禱告，又有複雜超技，在平和中流瀉純淨樂音，更有七彩斑斕的夢幻色彩。佛瑞《敘事曲》追隨蕭邦的步伐，但樂思更幽微曖昧，和聲錯綜迷離。白建宇2002年曾發行獲獎無數的佛瑞鋼琴獨奏專輯中，《敘事曲》正是壓軸，此次將帶來室內樂版本，更加令人期待。蕭頌的D大調協奏曲，流暢中帶著惆悵、淡淡憂鬱中抒發激情，更要求艱深演奏技巧與良好合奏默契，小提琴、鋼琴、絃樂四重奏絕妙搭配，構築此絕妙超倫的音樂沙龍。

白建宇Kun-Woo Paik

「實至名歸的超技大師！他是猛獸與完美的化身」—法國《費加洛報》

“True, authentic virtuoso! The beast of the piano a s we l l a s the per fec t musician.“—Le Figaro


44 法蘭西系列

2013︱3/17 Sun. 19:30

法蘭西系列暮光草原Twilight in Scythia

指揮／呂紹嘉　Shao-Chia Lü, conductor鋼琴／尚-艾弗藍．巴佛傑　Jean-Efflam Bavouzet, piano

德布西：〈伊貝利亞〉，選自《意象》管絃樂曲巴爾托克：第三號鋼琴協奏曲法雅：《西班牙花園之夜》普羅科菲夫：《塞西亞組曲》CLAUDE DEBUSSY: Images: Ibéria BÉLA BARTÓK: Piano Concerto No.3 MANUEL DE FALLA: Nights in the Gardens of SpainSERGEI PROKOFIEV: Scythian Suite, op.20


德布西總是宅在故鄉法國，宅到從未踏進西班牙國土一步，卻以《意象》管絃樂曲的第二樂章〈伊貝利亞〉，讓聆聽者神遊於西班牙的大街小巷，從芳香的夜晚到節日的清晨—僅依憑天才直覺，就精巧地捕捉到異域的風土與氣味。而來自西班牙的法雅，則寫出富印象色彩的《西班牙花園之夜》，融入西班牙的農民音樂，營造詩般的朦朧氣氛，描繪神秘的阿爾漢布拉宮，還有激情狂野的舞蹈，鋼琴與管絃樂合奏此曲，是高難度的挑戰。開場氣勢不凡的《塞西亞組曲》，樂風粗獷草莽，是普羅科菲夫筆下驍勇善戰的中亞遊牧民族，在騷亂狂躁的暮光中崇拜異教邪神，往一望無際的草原奔馳而去。NSO本樂季兩大「主角」：探索系列的普羅科菲夫，法蘭西系列的德布西，同場演出，交映出耀眼光輝。

2013/3/16 Sat. 19:30 巡演400 600 800 1000

尚-艾弗藍．巴佛傑Jean-Efflam Bavouzet

「清晰的觸鍵、迅速的思緒以及對聲音的敏感性讓他成為最貼切的詮釋者……我們能夠從這個傑出的音樂家聽到我們所期待的技巧與活力。」—英國《Classic FM》雜誌

“His clarity of touch, quickness of wit and sensitivity to dif ferent sound worlds make him an empathetic interpreter... Just the finesse and vibrancy we ve come to expect from this superb artist.＂ — Classic FM Magazine

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「一場名符其實堪稱最佳品質的表演。這都要歸功於呂紹嘉指揮與樂團精湛的演出。表演從頭到尾充滿了柔情似水的音符、晶瑩剔透的樂章。這是一場讓人嘆為觀止，擁有絕對音準的聲音饗宴。」—《南瑞典日報》

“Föreställningens gedigna kvaliteter är helt entydiga. Till detta bidrar först som sist Shao-Chia Lüs och orkesterns precisa och genomskinliga spel, fyllt av känslig ömhet och diskret klangparfym.＂—Sydsvenska Dagbladet



2013︱4/13 Sat. 19:30

法蘭西系列漫步展覽會Promenade at the Exhibition

修兒．嘉碧妲Sol Gabetta

「這位傑出的大提琴家以她的完美的音準、溫暖美妙的音色以及如詩般的表達方式令人深深著迷。」—《新蘇黎士報》

“The phenomenal violoncellist enchants with immaculate intonation, a wonderful warm sound and poetic expression.＂—Neue Zürcher Zeitung

2013︱6/14 Fri. 19:30

法蘭西系列海之詩Poème de la mer

指揮／呂紹嘉　Shao-Chia Lü, conductor女高音／絲黛拉．杜費克斯　Stella Doufexis, soprano

布瑞頓：四首〈海之間奏曲〉，選自《彼得．格林》蕭頌：《愛與海之詩》拉威爾：《天方夜譚》德布西：《海》BENJAMIN BRITTEN: Peter Grimes: 4 Sea Interludes, op.33a ERNEST CHAUSSON: Poème de l’amour et de la mer, op.19 MAURICE RAVEL: Shéhérazade CLAUDE DEBUSSY: La mer


歌劇《彼得．格林》，描寫一位被村民排擠的漁夫之悲劇故事，那種不被時代了解的孤絕，有如同性戀者布瑞頓的心情寫照，四首〈海之間奏曲〉為歌劇過幕樂段，筆法高超，是20世紀經典。蕭頌《愛與海之詩》取材自頹廢派作家布修（Maurice Bouchor）詩歌，〈水之花〉與〈愛之死〉以管絃樂團伴奏人聲，夾著純器樂的「間奏曲」，緩慢與哀傷是主調，蕭頌以樂音將文字意境提升得更為悠遠。拉威爾相當沈迷《天方夜譚》，曾寫過《天方夜譚》序曲，以全音階表現東方風格，之後以好友的三首詩作為本譜寫新曲，即本場由人聲與管絃樂聯袂演出、那遙遠東方一千零一夜的故事。德布西曾說，交響素描《海》是無數美好回憶沈澱而成的海，不是現實的寫真，而是靈性與精神性的海，如此詩意、具象徵性的樂曲，可說是法國古典音樂的高峰，為NSO的法蘭西系列，拉出開闊浩渺的最後高潮。

2013/6/15 Sat. 19:30 巡演400 600 800 1000

絲黛拉．杜費克斯Stella Doufexis

「杜費克斯完美地詮釋了美狄亞這個角色。在聲音、肢體以及戲劇上我們見證了一個真正的女王；一個寂寞的人物形象，一位愛人與朋友―所有的扮演都達到了完美境界。」—奧地利《新觀點》雜誌

“Doufexis is perfect for the leading role of Medea. In terms of voice, stature and drama we witness a true queen; a lonely figure, a lover and a friend – all performed to the same degree of perfection.＂—Der Neue Merker

指揮／關琦安　Carolyn Kuan, conductor大提琴／修兒．嘉碧妲　Sol Gabetta, cello

佛瑞：《佩利亞斯與梅麗桑德》組曲拉羅：D小調大提琴協奏曲拉威爾：《小丑的晨歌》穆梭斯基：《展覽會之畫》(拉威爾改編)GABRIEL FAURÉ: Pelléas et Mélisande Suite, op.80ÉDOUARD LALO: Cello Concerto, D minor MAURICE RAVEL: Alborada del gracioso MODEST MUSSORGSKY: Pictures at an Exhibition

(orchestrated by M. Ravel )


1893年，梅特林克（Maeterlinck）推出戲劇《佩利亞斯與梅麗桑德》，故事與筆法震撼同儕，成為許多作曲家的繆思：德布西譜成同名歌劇，荀貝格恢宏成交響詩，佛瑞則氣定神閒，以戲劇配樂方式呈現，如佈景緩緩流動。組曲加入他著名的「西西里舞曲」，更是膾炙人口。拉羅在D小調大提琴協奏曲中，取材故鄉西班牙的音樂元素，以法國式的優雅細緻呈現。法俄混血、來自阿根廷的修兒．嘉碧妲，是當今備受矚目的新銳大提琴家，將演奏這首結構嚴密、緊迫感十足的協奏曲。《小丑的晨歌》本出自鋼琴曲集《鏡子》，拉威爾特別改編為管絃樂曲，此曲時而滑稽逗趣、時而放肆胡鬧，描寫心上人不愛我的可憐樣貌，耍弄音符而喜感十足。《展覽會之畫》大眾耳熟能詳，穆梭斯基原作是鋼琴曲，將之改編為管絃樂者甚多，都不如拉威爾的大師手筆，讓名曲煥發新色彩，聆聽音樂如漫步畫廊，盡覽萬象奇觀。

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樂起地平線—布魯克納第六 Arise from the Horizon英雄與皇帝 Emperor & Hero純淨美聲—莎賓．梅耶與NSO Sabine Meyer & NSO蒼穹天河—布魯克納第五 The Magnificence—Bruckner No.5別來無恙，老柴！—賀普與NSO Daniel Hope & NSO威瑪1857—李斯特的浮士德 Faust by Liszt—Weimar 1857

這是個名家薈萃，以德奧經典音樂為主體的系列，

獨奏家中，年輕一輩鋼琴翹楚史岱費爾德、小提琴巨星賀普、

單簧管女王梅耶是引人矚目的焦點；

簡文彬與陳必先的李斯特之夜也是令人期待的黃金陣容。

—呂紹嘉

名家系列Masters & NSO


48 名家系列

2013︱1/13 Sun. 19:30

名家系列英雄與皇帝Emperor & Hero

指揮／約翰．艾瑟羅德　John Axelrod, conductor鋼琴／馬丁．史岱費爾德　Martin Stadtfeld, piano

貝多芬：第五號鋼琴協奏曲《皇帝》第三號交響曲《英雄》

LUDWIG VAN BEETHOVEN: Piano Concerto No.5, op.73, E-flat major, EmperorSymphony No.3, op.55, E-flat major, Eroica


貝多芬的音樂創作，第三號交響曲《英雄》被認為是其創作生涯古典與浪漫時期的分水嶺：運用的音樂元素前所未有，開創性與原創性跳脫了過去莫札特所傳承下來的古典基礎，不為貴族，也不為大眾，是貝多芬為自己而寫的音樂，獻給「永恆」和「人類」；篇幅長達45分鐘以上，是當時破紀錄的恢宏作品，也是貝多芬最深刻、最豐富，最家喻戶曉的經典之一。同為降E大調的貝多芬第五號鋼琴協奏曲《皇帝》，雖然標題為後人所加，但其中的進行曲、軍隊及戰爭元素，都讓人直接聯想作曲家於1809年創作此曲時，拿破崙進軍奧地利的背景。大氣壯麗，又有內心私語，第一樂章不設裝飾奏，第二、三樂章連貫演奏的寫法，更另開新局，深刻影響後輩作曲家。兩首革命性的時代領航之作，當《英雄》遇上《皇帝》，你可千萬別錯過！

馬丁．史岱費爾德Martin Stadtfeld

「令人無法置信的天賦！當馬丁．史岱費爾德在鋼琴前時，是無法不讓人感動的。」—德國《Bild + Funk》雜誌

“Was für ein unglaubliches Talent! Wenn Martin Stadtfeld am Flügel sitzt, bleibt niemand ungerührt.＂—Bild + Funk

2012︱12/16 Sun. 19:30

名家系列樂起地平線—布魯克納第六Arise from the Horizon

指揮／呂紹嘉　Shao-Chia Lü, conductor

莫札特：第三十五號交響曲《哈夫納》佑斯特：《地平線》（亞洲首演）布魯克納：第六號交響曲WOLFGANG AMADEUS MOZART:

Symphony No.35, K.385, D major, Haffner CHRISTIAN JOST: Horizon (Asia premiere)ANTON BRUCKNER: Symphony No.6, A major


接在精采非常的第五號之後，作曲家認為，他的第六號才是自己最大膽的創作。曲中筆法果然頗見新奇，樂評更曾稱為「哲學」交響曲。第六號交響曲的音樂色彩從黑暗昇華到明亮，音樂情緒錯綜呼應，最終樂章則堪稱19世紀最謎樣的交響曲結尾。呂紹嘉總監曾言「布魯克納的交響曲像是觀看宏偉教堂，時而仰角，亦可俯瞰；教堂雖是同一座，每首交響曲卻只選擇一個角度，精神固然一致，每曲各有千秋。」第六號，正有布魯克納最特別的觀看角度！除了經典探索，目前在歐陸最受歡迎作曲家之一的佑斯特，接受NSO與荷蘭愛樂共同委託創作的《地平線》，將同步做二地世界首演，呈現他追求結構、形式、音調變化的創作理念，這場音樂會是NSO大步邁向國際樂壇的指標，邀請您一同現場見證！

克里斯蒂安．佑斯特Christian Jost

「克里斯蒂安．佑斯特音樂的厚實織度與富含暗示性的音樂色彩令人著迷，其作品給人的感受不時讓人想起浦契尼。」—德國《焦點週刊》

“Christian Josts Partitur besticht durch dicht gewebte, suggestiv insistierende Klänge, deren Sinnlichkeit gelegentlich an Puccini erinnert.＂—FOCUS


49 Masters & NSO

2013︱3/24 Sun. 19:30

名家系列純淨美聲—莎賓．梅耶與NSOSabine Meyer & NSO

指揮／呂紹嘉　Shao-Chia Lü, conductor單簧管／莎賓．梅耶　Sabine Meyer, clarinet

理查．史特勞斯：《狄爾愉快的惡作劇》莫札特：A大調單簧管協奏曲布拉姆斯：第四號交響曲RICHARD STRAUSS: Till Eulenspiegels lustige Streiche, op.28 WOLFGANG AMADEUS MOZART: Clarinet Concerto, K.622, A major JOHANNES BRAHMS: Symphony No.4, op.98, E minor


莫札特的單簧管協奏曲，曲調低緩繚繞感情豐沛，是他完成的最後一首純器樂作品。此曲原為好友史塔德勒（Anton Stadler）自製樂器巴塞單簧管（basset clarinet）所作，莫札特說「沒有任何一種樂器還能比你所演奏的巴塞單簧管更像是人聲……這麼溫柔的聲音，沒有人的心不會不被它觸動」。今日通行的單簧管版本，其實是樂譜商修改莫札特原作而成，同樣扣人心絃。布拉姆斯第四號交響曲也有作曲家的黃昏景色，旋律蕩氣迴腸又有嚴謹古典架構，大開大闔中又兼具民俗風情和私密獨語，是千錘百鍊下的曠世巨作。有「單簧管世界首席」之譽的莎賓．梅耶繼2010年與BBC交響樂團來台後，再度來台與NSO首次合作，將以重製古樂器再現巴塞管傳奇美聲。

莎賓．梅耶Sabine Meyer

「簡而言之，她就是一個音樂和技巧的完美典範。」—《紐約太陽報》

“She is simply a musical and technical paragon.＂—The New York Sun

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「呂紹嘉在指揮時展現了音線變化上極佳的能力，讓人在靜謐的呼吸中感受到柔和盪漾的色彩流動。」—《萊茵聶可日報》

“Shao-Chia Lü showed a good sense to let pleasantly curved, smoothly f lowing colours breathe serenely.＂—Rhein-Nechar-Zeitung

TIFA 2013 台灣國際藝術節


50 名家系列

2013︱5/10 Fri. 19:30

名家系列蒼穹天河—布魯克納第五The Magnificence—Bruckner No.5

指揮／根特．赫比希　Günther Herbig, conductor

布魯克納：第五號交響曲ANTON BRUCKNER: Symphony No.5, B-flat major


有人冠以「悲劇」，有人稱之為「教會信念」，但真正無與倫比的，則是布魯克納第五號終樂章的雙賦格壯麗收尾，氣魄之大，為其所有交響曲之最。這首令人讚嘆佩服的經典以奏鳴曲式揭開天幕，從性靈昇華在天河遨遊，自悲壯主題而追求崇高的聖潔。作曲家於1875年創作這首交響曲時，由於官司纏身而收入減少，作品中亦透露出不同的人性思考過程。布氏藉由音樂的純粹，如反省自身的過程，產生許多複雜的對位關係，但一次一次回歸宗教性音樂主題，像是最終人皆會面對最後的審判，回到天主的懷抱，不得不景仰上蒼的偉大及寬容世間一切的胸襟。層層結構堆砌的結果，讓聽者有進入歌德式教堂尖拱高聳與天父接近之感，也藉由音樂及信仰的崇高，獲得人性最後的救贖。

2013︱5/17 Fri. 19:30

名家系列別來無恙, 老柴！—賀普與NSODaniel Hope & NSO

指揮／根特．赫比希　Günther Herbig, conductor 小提琴／丹尼爾．賀普　Daniel Hope, violin

貝多芬：第三號《蕾奧諾拉》序曲布瑞頓：小提琴協奏曲柴科夫斯基：第四號交響曲LUDWIG VAN BEETHOVEN: Leonore Overture No.3, op.72bBENJAMIN BRITTEN: Violin Concerto No.1, op.15 PYOTR ILYICH TCHAIKOVSKY: Symphony No.4, op.36, F minor


從義大利寄出樂譜，1878首演於聖彼得堡的第四號交響曲，是一場作曲家本人不在現場的演出，而由作品的被題獻者代為驗收。柴科夫斯基題獻這首曲子給最親密的摯友，也是他最重要的贊助者—梅克夫人，兩人往來信件至今尚存五百餘封，在與梅克夫人往來的信中他強調主題是「命運」，還把主題譜附在信上。這一年經歷婚姻打擊的老柴向摯友解釋，雖然自己不快樂，但看別人快樂時，「快樂就在那，簡單卻強大有力。沈浸在他人的快樂裡，生活還是可以過得去的。」命運在此並非宿命捉弄，而是世界總有其美好的一面。1939年與男高音友人皮爾斯（Peter Pears）及詩人奧登（W.H. Auden）一同從英國到美國的布瑞頓，在美國寫下這首小提琴協奏曲。與作曲家同鄉的英國小提琴家賀普，將用英倫本色，詮釋在臺灣難得一聽的布瑞頓小提琴經典曲目。

2013/5/18 Sat. 19:30 巡演400 600 800 1000

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根特．赫比希Günther Herbig

「樂團在根特．赫比希的帶領下演奏得非常壯麗動人，在舒曼第四號交響曲中，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》

“The Orchestra under Herbig played magn i f ic ent ly. . .[i]n the Schumann Four th Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent... ＂—The Sun

丹尼爾．賀普Daniel Hope

「一個同時具有深入思維及掌握全局能力的小提琴家……」—《紐約時報》

“...a violinist of probing intellect and commanding style...＂ —The New York Times


51 Masters & NSO

2013︱5/31 Fri. 19:30

名家系列威瑪1857—李斯特的浮士德Faust by Liszt —Weimar 1857

指揮／簡文彬　Wen-Pin Chien, conductor 鋼琴／陳必先　Pi-Hsien Chen, piano男高音／林健吉　Claude Lin, tenor拉縴人男聲合唱團　Taipei Male Choir

李斯特：第二號鋼琴協奏曲《浮士德》交響曲

FRANZ LISZT: Piano Concerto No.2, S.125, A major A Faust Symphony, S.108


「超技名家」，其實只是李斯特豐富人生的其中一面。這位鋼琴、指揮、作曲兼擅，音樂、藝術、文學皆精的大師，在36歲起離開巡迴獨奏生涯，專心致力於創作與教學。他於46歲方問世的第二號鋼琴協奏曲，篇幅不長，卻有史詩般的視野。艱深演奏技法仍在，卻在在為音樂內蘊服務，鋼琴與樂團合而為一，具有李斯特最精湛的寫作。第二號鋼琴協奏曲於1857首演，同年9月，李斯特為德國威瑪市的歌德與席勒雕像揭幕，並譜寫《浮士德》交響曲搭配儀式。透過交響詩樂章而非線性故事順序，將歌德詩劇三個主角：男主角浮士德、女主角葛麗卿，與惡魔梅非斯特寫成三段描述。最後由全男聲合唱團加上男高音獨唱，以《浮士德》最末章的詩句，推崇女性永恆的偉大做為終結。嚴謹深刻的陳必先加上挑戰巔峰的簡文彬，李斯特的終極魅力，讓你一次領會！

陳必先Pi-Hsien Chen

德國慕尼黑聯合廣播公司(ARD)國際大賽、德國荀貝格國際大賽及美國巴赫國際比賽首獎得主The first prize winner of the ARD International Music Competition, the International Arnold Schoenberg Competition in Rotterdam and the Johann Sebastian Bach International Piano Competition in Washington D.C.

簡文彬Wen-Pin Chien

「一位掌控全局的大師……他就像一部被注入生命的導航器，樂團也在其帶領下呈現出前所未有的細緻。」—《德國萊茵郵報》

“Chien, für alle Mitwirkenden fraglos ein lebendes Navigationssystem, war ein Meister der Umsicht, und die Symphoniker arbeiteten ein ums andere Mal kostbare Details der Partitur heraus.＂—Rheinische Post


古典音樂駭客之夜 Big Nightmare Music—Igudesman & Joo 威爾第之夜 NSO 跨／新年音樂會 Forever Love NSO 2013 New Year Concert

D吟．曼陀林—艾維塔與他的新朋友 Avi Avital and His New Friends《女武神》NSO歌劇 Die Walküre NSO Opera

2013年是兩位歌劇巨擘的200年誕辰，我們將以威爾第歌劇選曲、《安魂曲》與華格納《女武神》的

全新製作向大師致敬。

—呂紹嘉



54 NSO精選


華格納與威爾第文／金慶雲

華格納與威爾第同年（1813），兩人共同代表了

歌劇藝術的極盛期（華格納不會同意，甚至不同意歌

劇兩字）。不知該算是並駕齊驅，還是南轅北轍。

不計改寫，威爾第創作了26部歌劇，和董尼才

第的70部相比並不算多，尤其分配在直至80歲，半

世紀多的創作時間裡。1839至1850年是第一階段，

計15部。初試啼聲的《奧博圖》在史卡拉歌劇院首演

就獲得肯定。3年後的《拿布果》確立了他的地位。

那是歐洲動盪不安的年代，義大利獨立運動風起雲

湧，他那些振奮人心的合唱成了傳唱大街小巷的愛

國歌曲。整個1840年代裡，威爾第幾乎以一年兩部

的速度，繼承了義大利歌劇的正統。羅西尼金盆洗手

（1829），貝利尼英年早逝（1839），董尼才第瘋癲而

死後（1848），威爾第雄視歌劇樂壇，再無敵手。

華格納的起步也未遑多讓，20歲出頭就寫了兩

部少作。1839至1842年他避債逃往巴黎，幾難糊口，

倒也累積了名聲。1842《黎恩濟》在德勒斯登首演

獲得好評，不到3個月，《漂泊的荷蘭人》隨之，反應

平平。1845年演出《唐懷瑟》，1848年完成《羅恩格

林》，卻不能親見兩年後李斯特促成的在威瑪的首

演：1849年德勒斯登革命爆發，他成了通緝犯，從此

去國流亡12年，15年間沒有一部他的新劇上演。

1851至1853年，威爾第中期三大名作《弄臣》、

《遊唱詩人》、《茶花女》奠定了他世界性的聲譽。他

的寫作速度放慢，態度越來越慎重，技巧越來越圓

熟，管絃樂更豐美，戲劇性更強烈。威爾第一身鎔鑄

義大利、法國、德國歌劇的諸種風格，一部比一部更

成熟，更結實。

威爾第如日中天之際，華格納顛沛流離，窮愁潦

倒，卻胸懷大志，心比天高，這確也是他創作最豐收

威爾第。

的年代。巨作《尼貝龍指環》的大部分逐漸形成，中

間還橫插了一部《崔斯坦與伊索德》，一部《紐倫堡

的名歌手》。政治革命的失敗者亡命徒如今正籌畫著

一次驚天動地的藝術革命，雖然他以文字不斷宣傳，

恐怕很少人真把他當一回事，更沒人相信，他能實

現。

他對歌劇的檢討，總結於1850年發表的《歌劇

與戲劇》。歌劇原本是文化復興運動裡，追摹希臘

戲劇似是而非的產物；華格納要重來一次，實現詩、

舞、樂一體的整體戲劇藝術，欲令其取代宗教。而他

就是那集詩人、作曲家、導演、哲學家、社會改革家、

宗教改革家於一身的、超越文藝復興全人的超人。他

炮火四射的批評裏，主要假想敵是梅耶貝爾，而對威

爾第置若罔聞。在他處心積慮一舉殲滅歌劇之際，

或許始料未及，一個與他同齡的年輕獅王已經一肩

挑起了鞏固領地的重任，不容外敵侵入。

華格納要革命的遠不只是歌劇，而是整個人類

文明。他以無比的自信與勤奮，雖無人問津，仍孜孜

創作；更異想天開的是，一個四處碰壁，求售無門的

作者，竟然打算建造一個專屬的劇院，以祭典似的音

樂節，專為演出他的作品。華格納確實是藝術史中最

荒唐、最狂妄、也最幸運、最尊榮的夢想家，他創造

的奇蹟，不只因他的想像力，也因他的意志力。

1864年華格納時來運轉，年輕的巴伐利亞國王

路德維希二世傾一國之力成就了他的殿堂。他的夢

想一一實現。在慕尼黑，1865年《崔斯坦與伊索德》

首演，1868年《紐倫堡的名歌手》，1869年《萊茵黃

金》，1870年《女武神》。1872年59歲生日那天拜魯

特劇院在滂沱大雨中破土奠基，1876年音樂節開幕，

《尼貝龍指環》連演四夜三天。德皇在座，拜魯特儼

如聖壇冠蓋雲集，王公貴族名流文士頂禮膜拜。華格

納實現了他的夢想，但這卻不再是

預想的庶民慶典。

華格納躊躇志滿的最後18年

裡，除了完成早已開始的《指環》

後兩部《齊格飛》與《諸神黃昏》，

只有一部《帕西法爾》。如果華格

納能如他困厄中的15年那樣，心

無旁騖埋頭創作，而不必為劇場建

設、演出籌備、資金票房而煩惱，他

是不是能寫出更多作品？

華格納席捲歐洲文化圈，成華格納。


55 NSO Classics


為崇拜的偶像，進步的代表之時，威爾第一定覺得芒

刺在背。因為他所代表的義大利歌劇正是被革命的

對象，當年那個紙上談兵的妄人如今真的建立了自

己的王朝，義大利歌劇近三百年基業或將毀於一旦。

在華格納眼裏威爾第不過是手搖風琴樂師，其幫眾

們更沒少冷嘲熱諷。畢羅一口咬定他的《安魂曲》是

「套上了教士袍的歌劇」，其實連聽還沒聽過。威爾

第逐漸遠離數碼歌劇，原是一種自覺的對戲劇效果

的追求，被認為追隨華格納。他的管絃樂越來越飽

滿有力，也被看作東施效顰。其實他絕不標新立異，

調性保守，前衛性不如同時期的後輩理查．史特勞斯

或德布西。

面對華格納的威脅，威爾第未掉以輕心，他的

鋼琴上擺著《崔斯坦與伊索德》的總譜；1871年《阿

伊達》首演前，他聽了《羅恩格林》。1875年在維也

納聽《唐懷瑟》：「我瞌睡了，那些德國人也一樣。」可

不是，哪一個人在聽完15個小時的《指環》後不是精

疲力竭？尼采只熬了兩場就頭痛欲裂，逃入森林。威

爾第從瞌睡中得到自信：這世界上的凡人還是遠比

瘋子、自虐者、狂熱分子、有慧根者為多。對人間糾

葛的關心還是勝過對文明起源或人類未來的探索。

對一支蕩氣迴腸的詠嘆調還是不能抗拒，不理那些

偏執的德國人（誰知道他們將發起兩次大戰，這或也

是華格納鼓吹出來的德國精神?），歌劇還是義大利

的天下，他還是王。

開羅新歌劇院重金訂製的開幕劇《阿伊達》，

包含了威爾第成功歌劇的一切元素：凱旋曲，思鄉合

唱，祭司的審判，英雄男高音有32個高音Ｂ，女高音

與女中音是威爾第最重的戲劇角色。他在這裡把人

聲用到了極限，還有大歌劇的舞蹈排場。這外在的宏

偉堂皇，正反襯著人物內心的纖細敏感，尼羅河幽暗

的月色，石窟裡的沉黑，威爾第的管絃樂達到他歌劇

中前所未有的多彩細膩與張力，甚至出現了主導動

機。這是威爾第中期最後一部登峰造極之作，是對華

格納挑釁的一個響亮的答覆。

誰說威爾第的歌劇不是戲劇？他對劇本挑剔至

極；三部改編自莎士比亞，四部自席勒，還有雨果、

小仲馬、伏爾泰。厚重的歷史，複雜的故事，激烈的

衝突，眾多的人物，而每一個角色都在他賦予的詠歎

調或重唱裡活起來；他堅守著義大利傳統，人聲還是

歌劇的中心，只是在他手裡成為戲劇最主要的載具。

平心而論，威爾第推展情節，比華格納緊湊，設想華

格納為威爾第提供劇本，肯定要被痛加刪節。華格

納固然廢除了宣敘調，也消滅了詠歎調，無休無止的

旋律或根本不成旋律，滔滔不絕，喋喋不休，幾個鐘

頭下來，幾乎找不到可以選出來獨立演唱的段落。而

威爾第儘管也是有聲皆歌，但寫出了多少動聽的詠

歎調！單是寫給男高音的，貝貢齊就錄過31首，從早

期甘美的抒情男高音，到晚期雄健的戲劇男高音（至

《奧泰羅》而極）。威爾第把承襲自閹人歌手的陰柔

婉轉，轉變為剛勁挺拔，開啟了20世紀男高音的黃金

時代。

華格納對這些批評一定嗤之以鼻。他的詩句就

是字字珠璣，非要人細細咀嚼不可，音樂隨著詩的意

念開展，聽者本來就該全心追隨，忘卻時間。的確，

長達5小時的《崔斯坦與伊索德》，大半是癡戀者荒

誕的囈語；可是聽者一旦被捲入那漩渦，就無法解

脫，仿佛一字一句都嘔自胸臆，大有深意。夜暗之國，

死亡之境，是無法饜足的愛欲的唯一解脫。

詩境衍生音樂，音樂擴展詩境，兩者熔鑄為一體

（還有那奇幻詭異的舞臺），到後來，其實歌詞已不

必詳辨，音樂駝載著整體的、不可言宣的感覺。我們

真的看見聽見，從沙場上把戰死的英雄帶往神國的

女武神，金鐵交鳴，馳騁著天馬在空中呼嘯而過。除

了吆喝聲，不需其它語言，她們彷佛真的存在，她們

僅存在於華格納的世界。

華格納在異想世界裡建立了自己的王國與歷

史，他直溯北歐與日爾曼神話傳說的源頭。聖杯騎

士的故事從《羅恩格林》延伸到《帕西法爾》，中古

德國的賽歌傳統衍生了《唐懷瑟》和《紐倫堡的名歌

手》。漂泊的鬼船傳說，結合了自己飄零的身世，海上

風暴的經歷。華格納無邊的想像力開啟了舞臺設計、

1876年拜魯特劇院演出《萊茵黃金》。


56 NSO精選


導演與聽眾的想像力；頭戴金盔，足踏天鵝小舟淩波

而來的神秘騎士，令少年國王路德維希為之癡迷，恨

不能自己化身其中。迷霧中驀然出現的船影，維納斯

的肉欲城堡，諸神的殿堂，毒龍的洞穴，華格納的舞

臺是另一種世界。

他的主題都是愛的救贖。羅恩格林要求絕對的

信任，荷蘭船長因仙妲的奉獻解脫魔咒，唐懷瑟為無

邪的愛捨棄肉欲，崔斯坦與伊索德在死亡中滿足愛

情。《指環》是他的一生偉構，從發想到演出，歷經

28年；卻和作者一樣，充滿矛盾與歧義。大神追求統

治世界的權力，女兒布倫希德違抗戒命，拯救相戀的

愛侶，保全了人子齊格飛。最終神界在大火中傾覆，

布倫希德投身火窟，帶來新的時代。

華格納的整體藝術，還是歸宗於音樂。他的歌

劇改革，出發點原是反對歌手以聲害義。但到頭來，

他真正的成功在器樂更勝於人聲，似乎又反證了音

樂無言之美的力量。從前義大利歌劇的管絃樂何其

簡單，總是由第一小提琴帶出旋律，偶有木管，銅管

幾乎不用。華格納真正解放了器樂，實踐了自己的理

論，不再遵守交響樂固定的樂章格式，而是循著詩的

思路，有無盡的暗示與可能。華格納以音響交織大

網，在不知不覺中四面合圍，其中暗潮洶湧，數不清

的顏色與流向；木管的曖昧，銅管的輝煌，絃樂神經

質的半音振顫。華格納寓言裡的教誨，或都不及他的

音樂直接，我們感受的淨化與救贖，是〈愛之死〉向

上飛升的旋律，如雲朵飛過伊索德腳下的絃樂。是沉

睡在巨岩上，等待真愛喚醒的布倫希德四周騰起的

火焰，是神界。

威爾第的愛情、衝突與掙扎，是血肉凡人的感

情；華格納的愛情則是象徵與隱喻。威爾第的政治

是藉古諷今的歷史故事，華格納的政治是關乎人類

命運的神話傳說。威爾第的愛情總被國仇家恨，宗

教禮俗，乃至人心中的猜忌邪惡所摧殘；華格納的愛

情，則是殉死犧牲，甘之如飴，以完成淨化與救贖。

威爾第令我們感同身受，華格納令我們心嚮往之。我

們同情威爾第的凡人，景慕華格納的超人。

《阿伊達》之後，威爾第16年未推出新劇，只在

1874年親自指揮了《安魂曲》。華格納拜魯特音樂節

風靡一世的那些年裡，威爾第選擇沉默與觀望。自己

的地位是否會動搖？或許他也曾自問。1883年華格

納去世，威爾第深致哀悼：「悲傷，悲傷，悲傷，華格

納死了。……這是一個偉大人物的消逝。他的名字將

在藝術史上留下深深的烙印。」

1887年，《奧泰羅》首演。威爾第千挑萬選，終

於得到包益多改編自莎士比亞的完美劇本，創造了

義大利男高音無與倫比的悲劇人物。這親手扼殺至

愛的獅子，炙熱深情，野蠻殘酷，這才真是尼采所說

可以吹散華格納陰濕迷霧的非洲熱風，威爾第以此

自信地等待歷史的評斷。

1893，八十高齡的威爾第完成了圓熟人生最後

的傑作《法斯塔夫》，悲劇大師以喜劇收場，「人生

只是一場玩笑」，他遊嬉回顧各種音樂手法，包括賦

格。華格納的最後作品《帕西法爾》是一個純真愚人

的啟蒙故事，《法斯塔夫》則是世故聰明人的一場蠢

事，大多數人對後者更有同感。

一百多年過去，星辰仍在各自的位置。或許華格

納改變了威爾第，或許威爾第因華格納改變了自己，

或許威爾第從來沒變；或許因為威爾第，華格納沒有

完全改變我們。

＊金慶雲，臺灣師範大學音樂系暨研究所退休教授

威爾第《阿伊達》首演圖繪。

1893年《帕西法爾》首演圖繪。


57 NSO Classics

Poles Apart?by Hugo Shirley

As the bicentenary of the births of Giuseppe Verdi and Richard Wagner is celebrated in 2013, we are perhaps more in awe than ever of their genius, of their respective achievements, and of the power of their music and personality. We are also better able to disentangle these achievements from the densely woven fabric of music history, and to address, one could say, the men rather than the myths. And, in part due to the extraordinary political turmoil of the mid- to late-nineteenth century, both composers were also inextricably linked with the mythmaking that surrounded the establishment of nations: Verdi’s ‘Va pensiero’, the famous chorus from Nabucco (1842), was quickly claimed as a second national anthem in Italy and has its own mythical status; chants of ‘Viva Verdi!’ were commonplace in 1858-9, the composer’s name standing, during the struggle for unification, for ‘Vittorio Emanuele Re D’Italia’. Wagner’s vast inf luence throughout the whole of Europe as the twentieth century approached was offered as further proof of Germany’s musical pre-eminence during the nineteenth. Tragically, of course, both composers were forced posthumously to lend their musical voices to fascist regimes in Germany and Italy.

Their reception was similarly, for a long time, defined along national lines. Musicology, a discipline with origins in German-speaking countries, was s low to abandon a be l ie f i n i n s t r u ment a l mu s i c ’s inherent superiority and was accordingly suspicious of the visceral theatricality of Verdi’s operas. It was also, of course, u napologe t ic a l ly snobby about Italian music in general. Wagner’s operas, on the other hand, could be raised to the status of pure music—its dramatic content incidental—by complicated ana ly t ica l strategies that showed its links to symphonic techniques.

Yet both men, in the most general terms, had a remarkably similar goal: to employ the vast, expensive apparatus of the opera house to maximum dramatic effect. In achieving this goal, however, they both faced very different obstacles. German opera in the first part of the nineteenth century lagged a long way behind developments in instrumental music, and more often than not German opera was a dramatically unsatisfactory mixture of musica l numbers or ensembles—sometimes based on Italian models or on instrumental forms—and spoken dialogue that had grown out of the Singspiel (literally, ‘sing-play’). Weber might have attempted something closer to sung recitative in his Euryanthe, but he employed clunky spoken dialogue elsewhere, as did other German opera composers.

Italian opera, by contrast, had not taken long, from its first Venetian examples, to master the art of writing flexible libretti that could be set in a flowing sequence of formal numbers and recitative. It is telling to note that while Mozart’s two mature Singspiele, Die Entführung aus dem Serail and Die Zauberflöte, are masterpieces of their type, they achieve nothing of the dramatic continuity and fluidity of the three Da Ponte operas, Le nozze di Figaro, Don Giovanni, and Così fan tutte. The enormous success of Italian opera both at home and abroad had resulted in a veritable

Richard Wagner Giuseppe Verdi


58 NSO精選

industry: budding composers had a ready supply of libretti, which, if not always inspired, were easy to set to music; there were theatres and singers in all major Italian cities and audiences clamouring for the latest works.

The existence of such an opera industry in Italy was not, of course, without its drawbacks, and Verdi famously referred to the 1840s, in which he was obliged to produce one opera after another in quick succession, as the ‘galley years’. As one biographer has noted, ‘In the eleven years from March 1842 (the première of Nabucco) to March 1853 (the première of La traviata), Verdi produced sixteen operas, an average of one every nine months.’ After that time, with the start of the so-called ‘middle period’, the rate of Verdi’s production slowed considerably: he had earned prominence and wealth, was in a position to pick and choose his assignments and was not required to make concessions to audience taste or theatre managements. But, while it is often suggested that the ‘galley years’ were a price paid by Verdi to buy artistic freedom, there were certain formal devices inherited from tradition that he retained until the end of his career. While the formal layout of the aria (a slow cavatina followed, usually after the revelation of some in format ion, by a f a s t cabaletta) gradually dissolved, t h e c o n c e r t a n t e f i n a l e — a grand concluding ensemble to a central act, featuring soloists and chorus—was rarely absent. Increasingly, too, Verdi was able to demonstrate his mastery of more instrumental writing for the voices, such as in the remarkable Rigoletto quartet—which weaves individually characterized voices into an ingenious contrapuntal whole—or the comic fugue that concludes his final opera, Falstaff (1893).

Wagner had died in 1883, ten years before Verdi composed his final opera, but, although the two men never met, he can be seen to have played a part in the remarkable slowing down of Verdi’s own career. Having become established as a ‘classic’ and, to use the modern term, something of a national treasure, Verdi’s new operas from the mid-1850s onwards were judged against earlier works of his that had become newly established in the operatic repertory. Furthermore, a younger, rebellious generation, of which Arrigo Boïto, librettist of both Otello and Falstaff, was a prominent figure, saw Italian opera as increasingly moribund, in desperate of need of rejuvenation by incorporating Wagner’s theories of Music Drama. Verdi, who increasingly portrayed himself as a simple musician of Italian peasant stock, was apparently out of tune with the intellectual and philosophical ambitions of Wagner and he followers. He admitted, late in life, to standing ‘in wonder and terror’ before the score of Tristan und Isolde and commented, on hearing of Wagner’s death, that he ‘was a name that will leave a most powerful impression on the history of art’; earlier, however, Verdi had questioned the German

composer’s ‘attempting to f ly where a rational person would walk with better results’.

To describe Verdi as a master craftsman content with walking is to vastly underestimate his genius; but Wagner’s sense of ambition knew no bounds. Whereas Verdi charged himself with maintaining and improving an existing Italian tradit ion, Wagner’s ambit ion w a s t o e s t a b l i s h a f o r m o f German opera that ref lected the nation’s intellectual and musical importance. Within a complicated context that placed enormous phi losophica l importance on the idea of progress, Wagner a rgued that t he Beethoven’s

Francesco Tamagno as Otello in 1887 original production


59 NSO Classics


decision to introduce voices into his Ninth Symphony demonstrated the need to abandon the symphony and employ its musical language in a new sort of opera with subjects drawn from myth. While Verdi in many ways turned the traditional operatic focus away from history onto personal, very present tragedy, Wagner broadened it from the historically specific to the universal. His two great ‘middle period’ works, Tristan and Die Meistersinger von Nürnberg, were the exceptions that proved the rule—the former is an ‘opus metaphysicum’ (Nietzsche) exploring the deepest depths of human psychology; the latter is historically meticulous yet universally relevant.

Rather than being co-opted as an emblem of nation like Verdi, Wagner himself took part in the revolutions that swept Europe in 1848-9 and was forced into exile in Switzerland. It was there that he set out, in a series of lengthy essays, his plans for reform of German opera—a primary tenet of this was to be the wholesale rejection of Italian models, perceived to be hopelessly in thrall to the grandstanding of its twittering leading ladies. German opera was to be driven by drama, its singers vocal actors motivated by dramatic truth rather than top-Cs. Finally, this new art form was to help unite a nascent nation; it would inform, improve and inspire—entertainment was of little concern. He steered commentators towards the forward-looking aspects of his pre-1850 operas—Der f liegende Holländer, Tannhäuser, and Lohengrin—and laid the foundations for his Ring cycle, which ballooned to immense proportions from its initial one-opera plan. And it was in the Ring, f inally

completed in 1874, a quarter of a century after its first plans, that Wagner perfected the potent symphonic-dramatic cocktail that following generations would try to emulate. The vast structures of his operas—virtuosically elongated in Parsifal (1882), his final stage work—were held together by intricate systems of leitmotifs—musical ideas that carried with them parcels of meaning. Such was Wagner’s concern with his works being adequately performed that he built—with financial help from King Ludwig II of Bavaria—his own Festival Theatre in Bayreuth, where a summer festival devoted to the composer still runs today.

Wagner’s f ierce ambition led to a sense of entitlement that was alien to the more modest, traditionally industrious Verdi. Wagner’s attitude towards many of the basic strictures of society was, put mildly, loose: for much of his life he left trails of debtors, heart-broken mistresses and their disgruntled husbands. The unexpected intervention of the newly-crowned King Ludwig in 1864 raised him once and for all above an ever-swelling tide of debts; his relationship with Cosima—the daughter of Liszt, married at the time to the pianist and conductor Hans von Bülow— started at around the same time and led, after much pernicious duplicity, to their marriage in 1870. Verdi, by contrast was careful with money and, despite an ambivalent attitude towards the moral dictates of the church, lived all aspects of his life modestly and sagely, turning, in later life, to philanthropy. They were incomparable men whose works remain incomparable in all but their dramatic power. Together, however, they changed opera for ever.

＊ Hugo Shirley, PhD in musicology from King's College London; he is assistant editor of OPERA magazine and a critic for the Daily Telegraph.

The auditorium of the Bayreuth Festspielhaus


鋼琴／鄧泰山Dang-Thai Son, piano

2012︱10/11-12 Thu. & Fri. 19:30

NSO精選古典音樂駭客之夜Big Nightmare Music—Igudesman & Joo

指揮／張尹芳　Yin-Fang Chang, conductor小提琴／阿雷格西．伊古德斯曼　Aleksey Igudesman, violin鋼琴／朱鉉基　Hyung-ki Joo, piano

伊古德斯曼與朱鉉基改編古典經典如：約翰．史特勞斯《藍色多瑙河》、莫札特《土耳其進行曲》、拉赫瑪尼諾夫之鋼琴協奏曲，及他們自己的創作曲。Twists and turns of classical masters and pieces by Igudesman & Joo.

國家音樂廳 National Concert Hall500 800 1000 1500 1800 2400 3000

伊古德斯曼與朱鉉基這對古典駭客二人組，遇上NSO大軍，史無前例要來搞破壞。上次來台讓基頓．克萊曼對自己的身分嚴重錯亂，這次要把他們過去玩笑般的古典音樂小惡夢，放大到交響樂團規模的古典音樂大惡夢。是的，本場音樂會將演出以下作曲家曲目：莫札特、拉赫瑪尼諾夫、巴赫、韋瓦第、史特勞斯、貝多芬等偉大作曲家—及他倆的創作。全都是你耳熟能詳的古典音樂熱門曲目，但也全都被他們兩人「殘、駭」到不見原形。大音樂家們如果都還在世，會狂哭加狂笑。NSO這次還「被迫」要跟兩位音樂家合作小提琴及鋼琴協奏曲，全團團員無一倖免，一起跟著下海！到底是作曲家被駭，樂團被駭，還是演奏家被駭？已經駭遍歐美各大樂團的伊古德斯曼與朱鉉基的駭客二人組將使出渾身解數讓大師們也瘋狂！

2012/10/13 Sat. 19:30 巡演

60 NSO精選

伊古德斯曼與朱鉉基Aleksey Igudesman & Hyung-ki Joo

「伊古德斯曼與朱鉉基以獨特的個人風格，將 ( 音樂 ) 技巧忠誠且自然的融入，展現了完美的喜劇效果……」—《洛杉磯時報》"Igudesman & Joo personify the idea that with skill and devotion and a good nature and prefect comic timing..." —Los Angeles Times


2012︱12/31 Mon. 21:45

2013︱1/1 Tue. 19:30

NSO精選威爾第之夜Forever Love

指揮／呂紹嘉 Shao-Chia Lü, conductor女高音／安娜列娜．派松、黃莉錦 Annalena Persson / Li-Chin Huang, soprano次女高音／維多利亞．利文顧德、石易巧 Victoria Livengood / I-Chiao Shih, mezzo-soprano男高音／馬克．海勒、林健吉 Marc Heller / Claude Lin, tenor 男中音／巫白玉璽 Wu Bai-Yu-Hsi, baritone台北愛樂合唱團 Taipei Philharmonic Chorus

威爾第：　《命運之力》序曲　　《弄臣》第三幕，四重唱〈世間最美的少女〉　《奧泰羅》第一幕，二重唱〈夜幕已深〉　《遊唱詩人》第二幕，第一景二重唱　《阿伊達》第二幕

國家音樂廳 National Concert Hall400 600 1000 1500 1800 2400 3000

「你愛誰？」在這送舊迎新的節慶之夜，NSO音樂總監呂紹嘉精選經典威爾第情歌，讓我們好好問自己「愛」的真義：有《弄臣》好色公爵酒店尋歡的遊戲人間，有《奧泰羅》夫妻之間危疑暗藏的互信互愛，《命運之力》錯愛令人嘆息，《遊唱詩人》母子恩仇難說……藝術家不斷追尋「愛」的魔力，在威爾第的音樂魔法下，無論午夜12 點你是否能找到人一起擁抱，都歡迎你和NSO盡情享用流金樂聲與跨年Party，在水晶燈之下慶祝2013翩然降臨！音樂會下半場更將演出《阿伊達》經典第二幕，大將軍拉達梅斯光榮回到埃及，全國歡唱「榮耀！榮耀！」壯麗凱旋場景，尼羅河太陽金芒綻放大地，光輝燦爛邁入全新開始，也揭開威爾第200歲生日年序幕！

61 NSO Classics

NSO跨／新年音樂會

2013 New Year Concert

指揮/ 呂紹嘉Shao-Chia Lü, conductor

©Le

nz L

ee

GIUSEPPE VERDI: La forza del destino OvertureRigoletto, Act III, quartet ‘Bella figlia dell’amore’Otello, Act I, love duette:‘Già nella notte’Il Trovatore, Act II, scene 1, duette: ‘Soli or siamo’ & ‘non son tuo figlio?’Aida, Act II

2013︱4/19 Fri. 19:30

NSO精選 D吟．曼陀林—艾維塔與他的新朋友Avi Avital and His New Friends

曼陀林／艾維．艾維塔 Avi Avital, mandolin打擊樂／尚恩．夏那漢 Shane Shanahan, percussionNSO首席絃樂團 NSO String Ensemble

李和莆：〈卑南－台東蘭嶼〉，選自《臺灣四季》(世界首演)巴赫：Ｄ小調第一號大鍵琴協奏曲（改編給曼陀林）大衛．契斯基：《絃理論》尚恩．夏那漢：二首給打擊、曼陀林與絃樂團的新作斯特拉溫斯基：Ｄ大調協奏曲，給絃樂團LEE, WEN-PIN HOPE: ‘Puyuma－Orchid Island, Taitun’from Taiwan Four Seasons (World premiere)JOHANN SEBASTIAN BACH: Harpsichord Concerto No.1, BWV1052, D minor (arr. for mandolin)DAVID CHESKY: String TheorySHANE SHANAHAN: Two new pieces for mandolin, percussion and string orchestraIGOR STRAVINSKY: Concerto in D (Basel Concerto)

國家音樂廳 National Concert Hall400 600 800 1000

曼陀林在台灣並不是一項主流樂器，也因為它的稀少更顯得特別，艾維塔所用的曼陀林更是少數中的少數，並不是一般我們常見的美式平背或是義式圓背，他所用的是以色列的曼陀林，相當特別，有兩層琴面板並多了兩側的出音孔，增大了曼陀林的音量，音色也更增添了民族性的味道。此次艾維塔與NSO首席絃樂團聯手演出，將以右手持撥片方式演奏巴赫的Ｄ小調大鍵琴協奏曲，這會是一首十足展現艾維塔個人魅力的超炫技改編曲，相信在與絃樂團的配合下，更能彰顯曼陀林彈撥樂器的特色。尚恩．夏那漢再次展現他的打擊與作曲才華，兩首打擊、曼陀林與絃樂團的特殊配器創作更將為這場音樂會帶來新的感官享受。

艾維．艾維塔 Avi Avital

曼陀林音樂家艾維．艾維塔，曾獲葛萊美獎提名並為《紐約時報》讚許其琴藝為「獨特而敏銳的演奏」。Mandol in i s t Av i Av it a l , the Grammy award nominee, was recognized by the New York Times for h i s “exquisite ly sensit ive playing＂ and “stunning agility＂.

尚恩．夏那漢 Shane Shanahan

從2000年起，尚恩．夏那漢即參與馬友友的「絲路」樂團，並多次獲葛萊美獎提名。Since 2000, Shane Shanahan has been touring around the globe performing with Yo-Yo Ma as an original member of Grammy-Nominated Silk Road Ensemble.


62 NSO精選


63 NSO Classics

華格納的《尼貝龍指環》和其「首日」《女武神》文／羅基敏

1 9 世紀前半的歐洲，政治動盪。華格納

（Richard Wagner, 1813-1883）即是在如此的環境

裡長大，在發展個人對藝文多方面的興趣和才能之

餘，年輕的華格納不乏對政治的抱負和理想，導致

日後的長期四處流浪。然而，外在物質生活的不順

遂，並未動搖他對音樂藝術的堅定不移信念，棄政

治、全力就藝術的決定，終於讓他開創出一條前無

古人的革命性道路。在他的創作生涯裡，全本四晚

的《尼貝龍指環》（Der Ring des Nibelungen，以下簡

稱《指環》）以及為了演出該作創立的拜魯特音樂節

（Bayreuther Festspiele），在他生前身後，不僅對音

樂界，也對文學界、美術界、表演藝術界，甚至電影

界，都有著莫大的影響，至今未休。

《尼貝龍指環》與拜魯特音樂節

1848年10月，華格納擬了一個故事《尼貝龍神

話》（Der Nibelungen-Mythus, 以下簡稱《神話》）。

以它為大綱，很快地完成了正式的劇本，命名為

《齊格飛之死》（Sieg frieds Tod）。之後約半年，華

格納因參加革命被通緝，倉皇離開工作地德勒斯登

（Dresden），開始流亡生涯。1850年8月，他開始作

曲，但隨即中斷；同時間，要以一個專門的音樂節演

出這部作品的構想，也開始萌芽。

華格納中斷作曲的主要原因在於，他發覺僅只

《齊格飛之死》一劇，實不足以完全表達構想，於

是決定在前面加上一部《年輕的齊格飛》（Junger

Sieg fried）。1851年8月，他確定必須再擴大，最後的

結論是，這必須是一個三日加上序夜（Vorabend），

也就是要演上4天的作品，他將整部作品定名為《尼

貝龍指環》，每一部又各有名稱，分別是《萊茵黃

金》（Das Rheingold）、《女武神》（Die Walküre）、

《年輕的齊格飛》和《齊格飛之死》；在寫作前兩

部劇本的過程中，華格納也改寫了後面兩部劇本。

1852年11月，所有的劇本都完成了；1856年，後面

兩部被改名為《齊格飛》（Sieg fried）和《諸神黃昏》

（Götterdämmerung）。至此，《指環》的劇本可稱底

定。

全劇的譜曲則在1853年9月，由《萊茵黃金》開

始，一直到1874年11月，才完成《諸神黃昏》，主要原

因在於，音樂節的構想實行一直無法有所突破。1857年6月28日，華格納決定停止寫《齊格飛》；此時，他

已寫到了第二幕的開始。

1862年底，眼看《指環》的夢想幾乎不可能實

現，華格納決定將劇本單獨出版，並且寫了一個很

長的《前言》，闡述自己的音樂節理念。在接近結束

時，華格納提了個問題：找得到這位領主嗎？很快地，

他有了答案。

1864年3月10日，巴伐利亞國王路德維希二世即

位，年方18歲半。國王自小喜歡藝文，很早就是華格

納迷，也一直希望有朝一日，能親眼見到偶像。1863年出版的《指環》劇本，自也在他的收藏之列，在讀

到華格納《前言》裡提的問題時，他即強烈地自許為

這位領主，雖然當時他並不知道自己即將接位。即位

後，他四處打聽華格納的下落。1864年5月3日，國王

特使找到華格納，連夜接他到慕尼黑。第二天早上，

國王見到偶像，華格納則終於結束了流亡的生涯。

好景不常，喜好文藝的國王掌控不住重臣之間

的權力鬥爭，華格納也被捲入其中。為求息事寧人，

他於1865年年底轉赴瑞士，定居琉森（Luzern），繼

續創作《齊格飛》。1869年2月，國王告訴華格納，要

在慕尼黑演出已譜寫完成的《萊茵黃金》，作曲家一

本《指環》全劇要整體演出的堅持，大加反對，卻也

無力阻止。1869年9月22日，《萊茵黃金》在慕尼黑首

演；1870年6月26日，《女武神》也在慕尼黑首演。為

華格納。


64 NSO精選


了表示抗議，首演時，華納納都未在場。

眼看著《指環》全本以音樂節方式首演的計畫，

在慕尼黑已難以進行，華格納開始另覓目標。1871年4月，華格納赴拜魯特（Bayreuth）實地勘察，獲得

了當地政商界人士的支持，音樂節的理想終於開始

逐步實現。由於音樂節有了眉目，華格納也繼續寫作

《諸神黃昏》，在1874年11月21日完成了全劇。

1876年8月13日至8月17日，《指環》在新蓋好的

拜魯特慶典劇院做全劇的首演，也揭開了拜魯特音

樂節的序幕，華格納的夢想終於實現。

由神話到歌劇

19世紀裡，不僅中古德文《尼貝龍之歌》（Das

Nibelungenlied），還有北歐各種版本的神話記述，如

《艾妲》（Edda）等等，因著與日耳曼民族起源的關

係，引起德語文學界的高度興趣。結合《尼貝龍之

歌》、《艾妲》以及其他所謂「北方尼貝龍」神話的

各種版本，創作完成的德語文學作品，數不勝數；華

格納的《指環》亦是這股風潮的一個產品。就情節

而言，《指環》四部以齊格飛之死做結，只用了《尼

貝龍之歌》的前半。另一方面，華格納重新鎔鑄神

話人物和情節，並將眾人覬覦的對象，在尼貝龍寶

藏外，再加上一個具有統治世界力量的指環，隱喻

人世間無止盡追求金錢與權力的宿命；然而，最終

這些都得回歸大自然。如此的轉化，將華格納個人

的人生觀注入了作品中。將「指環」擺在故事情節的

核心，明顯地，源頭來自神話故事，其中，布倫希德

（Brünnhilde）因認出「證物」指環，決定要殺掉齊

格飛。但是，在各種版本神話裡，無論各個指環原來

的主人為何，指環本身都沒有統治世界的力量，也不

是各方追逐的目標。「指環」在華格納作品中具有的

這一個多方面意義，正是他的《指環》與其他尼貝龍

作品之不同關鍵處，也是作曲家用以貫穿四部作品

的利器。

1848年完成的《神話》，呈現了華格納最早的

戲劇構思，日後《指環》劇中各主要人物的關係，以

及主要的劇情進行，都已經清楚地存在。相較於《神

話》，《指環》的主要劇情以及絕大部分的人物，並

無重大改變，但是，《神話》中並沒有大地之母艾兒

妲（Erda），諸神中只見佛旦（Wotan）之名，巨人則

沒有名字，亦無爭鬥之事。此外，二者間尚有其他人

物互動及情節上的差異，這些改變均可在不同的北

方神話裡，找到來源。但是，華格納將這些神話故事

段落，散放在四部作品，精心編排後，重組出來的新

故事，則有了新的戲劇面貌。由《神話》到《指環》的

過程裡，四部作品中，《女武神》改變最大。

人性的女武神

華格納《神話》裡，與日後《女武神》相關的情

節，篇幅相當少，並且，依舊是依著各種北方神話的

版本，布倫希德僅是位違背大神命令的女武神。這

段故事在各種版本的神話裡，都非常短，係出現在齊

古兒（Sigurd）的故事裡，在他解開她的盔甲，她醒來

後，由她口中講出的故事：布倫希德違反了大神的命

令，在戰爭中保護了不該保護的一方，因而被大神用

睡眠刺處罰長睡；但她發誓不嫁膽小的人，於是大神

在她四周築起火牆。至於布倫希德抗命保護的對象

是齊格蒙（Sigmund），則是華格納的《神話》中才

有的轉化。

中古德文《尼貝龍之歌》係以齊格蒙和齊格琳

德（Sieglinde）的王國開始，齊格飛是他們的兒子。

封丹-拉突爾（H. Fantin-Latour）：《萊茵黃金》第一景(1888年)。


65 NSO Classics


華格納的《指環》「首日」《女武神》以齊格蒙和齊

格琳德的故事為中心，應肇源自此。作品裡，華格納

用了親子關係和名字，故事內容卻是由《佛松傳奇》

（Völsungssaga）裡擷取。在這裡，齊格蒙占了很大的篇

幅，有過多次婚姻，並且有許多兒子。

齊格蒙的故事裡，有一段是關於他和他妹妹的。

齊格蒙的父親未經得唯一的女兒同意，即將她出嫁。

婚禮上，一位老人將劍插入樹幹，齊格蒙拔出了劍，

他的妹婿試圖向他買劍，卻被拒絕，親家立刻成了仇

家。一場血腥混戰後，只有齊格蒙被妹妹救下，兩人

決定復仇。妹妹發覺自己生的兒子不能為他們復仇，

於是喬裝打扮後，至森林中找齊格蒙，後者沒有發覺

她的真正身分，於是和她生了一個孩子。妹妹將孩子

送至森林中，讓齊格蒙養大。父子二人打算復仇，卻

被活捉，並被活埋。緊要關頭時，妹妹將寶劍丟入兩

人被活埋處，救出二人。父子二人放火燒大廳，並守

住出口，不讓任何人逃出來。妹妹雖然從未愛過自己

的丈夫，但畢竟參與了謀殺親夫的計畫，決定留在廳

內，終被燒死。

齊格蒙的故事最後一段，係年長的齊格蒙向一

位女子求婚，同時求親者尚有其他人，其中一人是渾丁

（Hunding）。該女子選擇了最英勇的齊格蒙，於是

渾丁興兵來攻，又是血戰多場。原本不敗的齊格蒙，

在戰場上遇到一位老人，穿著大衣、獨眼、手持長

矛，齊格蒙的寶劍遇上老人的長矛，斷成數片，於是

齊格蒙戰敗。當他的妻子找到垂危的先生時，他交待

她收好劍，將腹中兒子產下，兒子會將劍鑄合，再創

基業。齊格蒙去世後，妻子果然產下一子，命名齊古

兒，也就是齊格飛。這位穿著大衣、獨眼、手持長矛

的老人，正是大神歐丁（Odin）；《指環》裡佛旦的造

型，無疑地，源出於此。

《女武神》裡，華格納將兩段齊格蒙的故事移

花接木，合成一個，但是讓兄妹自小失散，寶劍則是

兩人日後相認的證物。這一段故事，在舞台上看不

到，華格納安排由兄妹二人相見時，分別敘述各人的

版本，告知觀者過去的事情，同時間，並由樂團暗示

著寶劍和佛旦的關係。不巧借宿仇人家，是神話裡

別處的動機，被轉用到齊格蒙身上，呈現一個天生苦

命的英雄。妹妹背叛親夫的情節，固也出於神話，但

是，華格納讓渾丁成為她的夫婿，由此接上渾丁與齊

格蒙大戰，後者寶劍斷於大神之矛，戰敗而死的情

節。這一場兩個男人的戰爭，則在舞台上呈現。華格

納並讓布倫希德在與齊格蒙一段感性對話後，決定

保護齊格蒙，又在行動敗露後，落荒而逃，並帶走齊

格蒙的斷劍和昏倒的齊格琳德，為故事的後續留下伏

筆。

不僅如此，無論在原來的神話或華格納的《神

話》中，佛旦和雙胞胎以及布倫希德之間，都沒有任

何家庭甚至親戚關係。在《女武神》中，故事細節雖

然並無改變，但人物被簡化，致使恩怨集中在少數幾

個角色身上。並且，因著華格納賦予人物之間親密的

父女、父子關係，致使全劇充滿了人間感情，並有著

強烈的戲劇張力。佛旦為了要多知道未來的事，與艾

兒妲生了布倫希德；又因為要培養自由意志的人，為

諸神頂罪，與威松族（Wälsung）生了雙胞胎。他的

「風流」行為讓齊格蒙與布倫希德成為同父異母兄

妹，也讓神話故事中，高高在上的大神人性化了。

佛旦身為統治者，在以詭計和暴力取得指環的

同時，即種下了諸神滅亡的必然後果。他雖嘗試以

其他的方式挽救，但自欺欺人的伎倆，在他與佛利卡

（Fricka）夫妻口角的對話裡，被一語道破。他不得馬卡特(H. Makart)《齊格蒙之死》（《女武神》第二幕第五景，1883年）。


66 NSO精選

不手刃親子、放逐親女，最終依舊無法改變結果。華

格納試圖藉著這個故事，表露統治者亦不能違反律

法的理念，它透過諸神的行為和一再強調的諸神滅

亡，直接、間接地傳達出來。

一生音樂終不悔

華格納一生努力強調的是，歌劇藝術裡的音樂

與詩作係密不可分的。他之所以一直堅持自己寫劇

本，著眼點亦在於此。如何將詩作入樂，傳遞更深的

詩意，其重點不僅在於呈現台詞，還在於劇本架構以

及其中的場景描述等等；諸多環節，環環相扣，缺一

不可，才成就出他與眾不同的作品。由華格納自己的

話語，更可以看到，他將觀眾也視為歌劇演出的重要

一環，要大家「張大眼睛看、豎起耳朵聽」，並且還要

同時思考，因為「沒有思考，是不可能有真正的藝術印

象的」；換言之，華格納認為，聽眾在接觸他的作品

時，也要有「總體藝術」（Gesamtkunstwerk）的精

神，以人類最敏銳的感官加上頭腦的智慧，才能深刻

體會到藝術的真諦。

＊羅基敏，臺灣師範大學音樂系教授

位於拜魯特的華格納別墅（Wahnfried House），現為拜魯特華格納博物館。


67 NSO Classics


An All-Too-Human Dramaby Hugo Shirley

It shou ld come a s no su r pr i s e t ha t t he compositional history of Wagner’s four-part Der Ring des Nibelungen (The Ring of the Nibelung), of which Die Walküre forms the second installment, should be complicated. The first jottings for the cycle date from 1848; Wagner completed Götterdämmerung (The Twilight of the Gods), its final part, in 1874. Composition had been broken up by the standard elements of the composer’s colourful biography: revolution, exile, numerous affairs, the accrual of debts and the evasion of debtors. In addition, Wagner had downed his pen after the first act of the third part, Siegfried, for the first of two interim projects, initially planned—with characteristically wild optimism—as small-scale, money-making endeavours: Tristan und Isolde and Die Meistersinger von Nürnberg.

A s t he g reat Germa n musicolog i s t Ca r l Dahlhaus has noted, however, ‘More amazing than the inconsistencies throughout the work is the degree of unity it displays, a unity less dramatic than epic and symphonic’. This unity was, in many ways, a result of Wagner’s process of composition, which grew backwards from just one opera—provisionally entitled Siegfrieds Tod (Siegfried’s Death)—that was to portray on the stage the final drama of an epic saga. With the earliest prose draft of that opera, penned in 1849, the composer already had many of the main plot details

worked out. However, he realised, as is clear from an aborted musical sketch, that it would be impossible, as he planned, to have these events simply recounted in the early stages of Siegfrieds Tod. As such, to that opera was added first Der junge Siegfried (The Young Siegfried, later just Sieg fried ), then Die Walküre and Das Rheingold. The latter was finally designated ‘Vorabend’ (a preliminary evening) to the subsequent three ‘Tage’ (days) of the tetralogy.

Like all Wagner’s mature dramas, the Ring reflects much of the turmoil of its composer’s life. The cycle’s early gestation is intimately and inextricably linked with Wagner’s notorious engagement in the revolutions that spread across Europe in 1848-9. The exact extent of his engagement with the revolution in Dresden in 1849 has been the subject of a great deal of (auto-) biographical fabrication and speculation, but the earliest sketches of the cycle date from the previous year, where the composer’s revolutionary fervour—fanned by the iconoclastic, anti-establishment philosophy of Ludwig Feuerbach (1804-1872)—had emphasised the cycle’s narrative of tearing down and replacing the existing power structures of society: the conflagration of Valhalla was to lead the way for a new political age. Wagner’s revolutionary activities led to a warrant for his arrest being issued on 16 May 1849, forcing him to flee Dresden—and an enviable

The Grave of Richard Wagner by the Wahnfried Houseat, Bayreuth.


68 NSO精選


post in the employ of the very court he had wanted to overthrow—and head to Zurich to start 12 years of exile.

Zurich was clearly viewed as a temporary stop, and Wagner made further attempts to establish himself in Paris in early 1850, and also to escape East with a married woman he met there. A series of disappointments led to his greater belief in the need to reform the theatre. The first of his so-called Zurich essays followed, and they laid out in impassioned and, in the case of the notorious ‘Das Judentum in Musik’ (completed August 1850), vindictively odious terms exactly what he felt was wrong with the state of opera. In his most important theoretical essay, ‘Oper und Drama’, he took issue with the term ‘opera’ itself, complaining that it promoted superficial musical niceties ahead of dramatic truth, which should always serve as the ‘fertilizing seed’ of musical invention. ‘Oper und Drama’ was completed early in 1851, and a few months later Wagner set about expanding Siegfrieds Tod into two operas, adding Rheingold and Die Walküre the following year. He explained his rationale in a letter to his friend, Theodor Uhlig, in

November 1851:[It was] clear to me, as I dwelt on [the]

realization [of Siegfrieds Tod] in terms of musical theatre, that it was more than ever necessary to present the whole tale and its background in a directly perceptible form. I see now that to be perfectly understood in the theatre I must have

the whole myth performed on the stage.

The is exactly what he did. The new libretto—or Dichtung (poem), to use the term Wagner preferred—for the cycle was completed by 15 December 1852. And Das Rheingold, whose score was completed less than two years later on 26 September 1854, begins not just with the start of the myth but, in a prelude that grows organically out of nothing but a sustained e-flat pedal, with the beginning of existence itself. Das Rheingold deals exclusively with mythical characters—gods, giants, Rhine Maidens, Nibelung dwarves—in mythical spaces: beneath the Rhine, in the lofty heights of Valhalla, in the subterranean realm of the Nibelungs. As a work, too, it is the instalment of the Ring that comes nearest to Wagner’s theoretical ideal: the music grows exclusively out of the drama and is

The original staging of Wagner’s Die Walküre, Act III. A favourite set at the premiere, is seen here in the Leipzig production (1878), modeled on the Bayreuth original production.


69 NSO Classics


determinedly welded to the words, which are in turn cast in the composer’s knotty and alliterative Stabreim. The work also sets out the complex web of leitmotifs that would be used to tie the whole cycle—and its uniquely compelling mixture of epic and dramatic modes—together.

Die Walküre introduces us to the human protagonists of the myth, and in its whole first act the only reference to earlier characters comes in veiled form during Sieglinde’s ‘Der Männer Sippe’, linkable, with help from repeated iterations of the Valhalla motif, to the identity of the mysterious guest who thrust Notung into the trunk of the ash-tree during Hunding and Sieglinde’s wedding party. When we meet Wotan and Fricka in Act Two, they appear in very different guises to those in Rheingold: here we are thrust into an all-too-human domestic argument about bourgeois morality. Even the fearless Valkyrie, Brünnhilde, herself a product of Wotan’s rebellious attitude to marriage, knows not to intervene in the dispute. But it is in the work’s seamless shifts between the human and divine—or, perhaps, the public and private—that much of its power lies. Wotan might be the most powerful of the gods, but he is also the most fallible; he, like so many in positions of power, has become corrupted. And in his remarkable act-2 monologue he makes this realization and resolves to do his duty and right the wrongs he has unleashed.

Brünnhilde’s own resolve in carrying out this duty disappears during her revelatory scene

Siegfried awakens Brünnhilde

with Siegmund, the so-called Todesverkündigung ; subsequently, during the course of the act-3 farewell, Wotan’s resolve in punishing her disappears in turn. In Die Walküre, as so often throughout the whole Ring cycle, human weakness dictates that each opportunity to divert from the course of disaster is passed by; the greater good is subordinated—sometimes knowingly—to selfish concerns. But such is Wagner’s genius, that these moments of weakness are clothed in the most affecting and persuasive music. We, in the audience, are convinced too by Siegmund’s noble rhetoric in the Todesverkundigung; we can see that Wotan has no choice in his farewell but to preserve Brünnhilde in fire until a suitable hero—Siegfried, of course, as the music has hinted through a great deal of the act—is able to collect her (as happens in two and a half acts’ time, in Act 3 of Siegfried).

Wagner had himself shown fallibility in failing to resist the siren song of music by the time he composed Die Walküre, too. The lofty theoretical stance of the Zurich essays, put into practice in the tautly drama-led Rheingold, was compromised in the second work of the cycle. In the interim Wagner had discovered the work of Arthur Schopenhauer. This not only set out the philosophy of renunciation that would seep, above all, into Tristan, but it also claimed music’s position at the head of the arts: it was, Schopenhauer wrote, the only art form that could hope to reflect the inexpressible nature of existence—what he termed the Will. It was a happy discovery, for it resulted in Die Walküre in a new musical freedom and lyricism that was all the better able to portray the full beauty of the humanity that betrays us.

＊ Hugo Shirley, PhD in musicology from King's College London; he is assistant editor of OPERA magazine and a critic for the Daily Telegraph.


2013︱7/10,12,14 Wed. & Fri. 18:00 Sun. 14:30

NSO精選《女武神》Die Walküre

指揮／呂紹嘉　Shao-Chia Lü, conductor導演／漢斯-彼得．雷曼　Hans-Peter Lehmann, director舞台設計／蔡秀錦　Hsiu-Chin Tsai, set design

齊格蒙／沃夫崗．史瓦寧格　Wolfgang Schwaninger, Siegmund渾丁／安卓亞斯．霍爾　Andreas Horl, Hunding佛旦／貝拉．裴倫茨　Béla Perencz, Wotan布倫希德／依姆嘉德．費絲麥爾　Irmgard Vilsmaier, Brünnhilde國內聲樂家　Singers from Taiwan聲樂指導／艾希．凡魏　Ansi Verwey, vocal coach

華格納：《女武神》RICHARD WAGNER: Die Walküre

（全劇約 4.5小時）

國家戲劇院 National Threater500 800 1200 1800 2400 3000 3600 5000

2006年NSO以音樂會形式挑戰華格納史詩巨作《尼貝龍指環》全本，本樂季再度由音樂總監呂紹嘉執起指揮棒進入戲劇院演出《女武神》舞台版。《女武神》看似爭戰氣氛濃厚，卻有極其深刻動人的愛情描寫：兩個世代、兩段愛情，串起正義與復仇的糾葛迷亂。眾神之王佛旦與齊格蒙的跨越神人界父子情誼，齊格蒙與齊格琳德的兄妹失散與重聚，布倫希德為愛感動不惜違抗父命，佛旦與愛女在魔火環繞中永遠告別……這錯綜複雜的關係，不僅僅是愛情的難解，更是親情與家庭關係的放大與矛盾。NSO邀請到1972年為碧納．鮑許（Pina Bausch）開啟聲名的德國歌劇導演漢斯-彼得．雷曼（Hans-Peter Lehmann），以及多位國內外重量級歌手在台北推出劇院版《女武神》，再創國內歌劇演出里程碑，也是華格納200歲冥誕紀念年不可錯過的盛會。

70 NSO精選

NSO 歌劇NSO Opera

【NSO室內樂集】馬卡龍與伏特加 NSO Chamber Concerts─ Macaron and Vodka【畫說音樂】您說是巴洛克？ Music and Beaux Arts─ So You Call It “Baroque”? 【焦點講座】音樂與文學的對話 What is Composition?─ Dialogues between Literature and Music 【探索頻道】 Music Discovery

室內樂系列Chamber Music Series



72 室內樂系列

17世紀時即引領世界流行、充滿浪漫意象的法國，其特質可以化為色彩繽紛、味道多樣細膩的馬卡龍，也可變成色調

層次豐富的映象音樂世界。在高緯度的西伯利亞，必須對抗酷寒才得以生存的俄國，在嚴峻的自然環境中，鍛鍊

出剛烈堅毅的意志，一杯伏特加酒，則是他們濃烈性格的代表，同樣的特質在俄國音樂中亦充分展現；法國的馬卡龍配

上俄國的伏特加，是怎麼樣的一個滋味？一個鮮明的對比，卻又在各自的極端中，找到了共通的連結性。NSO獨奏家群將

以「早安！伏特加」、「午安！馬卡龍」、「晚安！帕薩加里亞」三場室內樂音樂會，連結聽覺與味蕾記憶，串連出別出心裁

的法俄風情，讓觀眾品嚐含藏在音樂裡的香淳甜蜜與嗆辣濃烈。

NSO 室內樂集｜NSO Chamber Concerts

馬卡龍與伏特加Macaron and Vodka

●演出地點︱國家演奏廳 Natinoal Recital Hall ●單場票價︱400

2012/12/21Fri. 19:30

「日安！伏特加」“Добрый день! Vodka”蕭斯塔科維契：G小調鋼琴五重奏，作品57柴科夫斯基：D小調絃樂六重奏，作品70，《佛羅倫斯的回憶》D. SHOSTAKOVICH: Piano Quintet in G minor, op.57P. I. TCHAIKOVSKY: String Sextet in D minor, Souvenir de Florence, op.70

小提琴鄧皓敦、陳偉泓中提琴黃瑞儀、陳猶白大提琴連亦先、黃日昇鋼琴葉孟儒

2013/3/1Fri. 19:30

「午安！馬卡龍」“Bon jour! Macaron”若利韋：《聖誕田園》　

法朗謝：木管四重奏　

聖桑斯：《綺想曲》　

葛令卡：D小調《悲愴三重奏》A. JOLIVET: Pastorales de Noël for Flute, Bassoon & HarpJ. FRANÇAIX: Quatuor pour grande flûte, hautbois, clarinette et bassonC. SAINT-SAËNS: Caprice on Danish and Russian Airs, for Flute, Oboe, Clarinet and Piano, op.79 M. GLINKA: Trio Pathetique in D minor for Clarinet, Bassoon and Piano

長笛安德石

雙簧管王怡靜單簧管朱玫玲低音管簡凱玉鋼琴簡美玲

豎琴解瑄

2012/12/1 Sat. 19:30

「晚安！帕薩加利亞」“Night, Passacaglia”葛里耶爾：給小提琴與大提琴的八首小品

韓德爾/哈爾沃森：《帕薩加利亞舞曲》歐內格：小奏鳴曲，為小提琴與大提琴

柯大宜：小提琴與大提琴二重奏

R. GLIÈRE: 8 Pieces, op.39J. HALVORSEN: Passacaglia (after G. F. Handel)A. HONEGGER: Sonatina for Violin and CelloZ. KODÁLY: Duet for Violin and Cello, op.7

小提琴李宜錦大提琴連亦先


73 Chamber Music Series

學者們經常將17世紀初到18世紀中葉的西方藝術發展泛稱為「巴洛克時期」，然而它卻是一個不穩定而充滿變化的時

代。「巴洛克風格」雖源自義大利，卻不是「放諸四海皆準」的單一風格；在義大利之外，法國是「反巴洛克」的；英

國則是顯得相當矜持保守，與西班牙強烈的民族色彩、德國新教藝術的精煉深沉大異其趣。

　同是「北方」新教的藝術家，侖布蘭特（Rembrandt）的畫作與巴赫的音樂有何類似之處？這種北方的內斂與靈性，

與「南方」舊教式的傾向於「享樂主義」；―例如魯本斯（Rubens）的畫與韋瓦第的音樂―，有何不同？法國路易十四宮

廷中，政治掛帥之下所產生的凡爾賽宮的美術與音樂，它們堅持著古典精神的延續，例如勒布朗（Le Brun）的畫與盧利

（Lully）的音樂，應該相當另類……

畫說音樂｜Music and Beaux Arts, Lecture Concerts

您說是巴洛克？So You Call It “Baroque”?

陳漢金　法國巴黎第四大學音樂學博士，目前任教於國立臺灣師範大學音樂系，著有《音樂獨行俠―馬水龍》、《發現貝多芬》、《您說是「印象派音樂」？―德布西的室內樂與管絃樂》。


2012/10/7 Sun. 14:30

2012/11/3 Sat. 14:30

2012/12/9 Sun. 14:30

2013/4/21 Sun. 14:30

策劃主講陳漢金

巴洛克的母邦（一）：義大利的聲樂

The Mother Land of Baroque Music — Vocal Italy．演出者︱女高音：林孟君女中音：范婷玉男高音：張成璞、楊家禹男低音：林中光　　　　　　吉他：黃修禮大鍵琴：蔡佳璇 NSO樂團學苑．演出曲目︱德普瑞、蒙特威爾第、卡契尼、韋瓦第等作曲家作品　　　　　　Works by Desprez, Monteverdi, Caccini and Vivaldi etc.

巴洛克的母邦（二）：義大利的器樂

The Mother Land of Baroque Music — Instrumental Italy．演出者︱大鍵琴：蔡佳璇 NSO樂團學苑．演出曲目︱威拉爾特、馬利尼、柯雷里、韋瓦第之作品　　　　　　Works by Willaert, Marini, Corelli and Vivaldi

古典精神的堅持：法國的「反巴洛克」

The Anti-Baroque Spirit — France．演出者︱女高音：林孟君女中音：范婷玉、鄭海芸大鍵琴：蔡佳璇 NSO樂團學苑．演出曲目︱隆貝爾、盧利、庫普蘭、拉摩之作品　　　　　　Works by Lambert, Lully, Couperin and Rameau

矜持與狂放：英國vs.西班牙Decorum and Verve — England vs. Spain．演出者︱女中音：鄭海芸吉他：黃修禮大鍵琴：蔡佳璇 NSO樂團學苑．演出曲目︱拜爾德伯、珀瑟爾、斯卡拉第、歐爾蒂斯等作曲家作品

　　　　　　Works by Byrd, Purcell, Scarlatti and Ortiz etc.

2013/6/2 Sun. 14:30

巴洛克的昇華：德國的新教音樂

The Sublime of Baroque — Germany．演出者︱女高音：林孟君男高音：林健吉男低音：林中光大鍵琴：蔡佳璇 NSO樂團學苑．演出曲目︱韓德爾、畢柏之作品及巴赫《咖啡清唱劇》

　　　　　　Works by Handel, Biber and J. S. Bach's Coffee Cantata

* Lectures in Chinese 演講以中文進行


74 室內樂系列

音樂與文學，各自精彩又密不可分。可這兩大藝術究竟如何互動，彼此又能激盪出何等刺激火花？

透過焦元溥的精心策劃，在這三場「音樂與文學的對話」講座音樂會中，我們將傾聽作曲家如何以音符說故事、誦

詩歌、講小說—那是晚期貝多芬與米蘭昆德拉的意念融會，托爾斯泰與雅納捷克的跨國對話；蕭邦敘事曲中的朗誦音

調，拉威爾三重奏裡的迴文詩篇；南來北往，自東徂西，既有舒伯特、華格納耳熟能詳的經典名曲，也有李斯特歌德恐怖

美學《蕾諾兒》（Lenore）台灣首演。不只請到NSO卓越團員與客席名家熱情參演，更邀來導演張艾嘉、詩人楊佳嫻、小說

家紀大偉，或表演或討論，帶來前所未見、音樂與文學的美好饗宴。

　鑽石陣容、燦爛曲目、靈光乍現、機智交鋒，三場講座音樂會，獻給愛聽音樂愛讀書的你！

焦點講座音樂會｜What is Composition? Lecture Concerts

音樂與文學的對話 Dialogues between Literature and Music

焦元溥　倫敦國王學院音樂學博士。著有《遊藝黑白》、《聽見蕭邦》、《樂來樂想》等八本專書，台中古典音樂台和Taipei Bravo都會生活台節目主持人。


2012/10/20 Sat. 14:30

2013/3/9 Sat. 14:30

2013/5/25 Sat. 14:30

策劃主講焦元溥

愛聽秋墳鬼唱詩：音樂鬼故事

Tales of Ghosts．演出者︱朗讀：張艾嘉（電影人）小提琴：李宜錦男中音：王凱蔚鋼琴：嚴俊傑．演出曲目︱舒伯特：《魔王》　　　　　　　華格納：〈期限已到了〉，選自《漂泊的荷蘭人》

　　　　　　伊撒意：第二號小提琴奏鳴曲　　　　　　李斯特：《蕾諾兒》　　　　　　F. SCHUBERT: Der Erlkönig　　　　　　R. WAGNER: ‘Die Frist ist um’, from Der fliegende Holländer　　　　　　E. YSAŸE: Violin Sonata No.2　　　　　　F. LISZT: Lenore

詩中有樂樂中有詩Double Helix: Music and Poetry．演出者︱對談人：楊佳嫻（詩人）　　　　　　小提琴：吳庭毓中提琴：陳猶白大提琴：黃日昇鋼琴：林慧英．演出曲目︱德布西：〈暮色中的聲音與香味〉、〈棕髮少女〉，選自前奏曲

　　　　　　蕭邦：第一號敘事曲　　　　　　武滿徹：《飛下雲端漫步的鳥兒》　　　　　　李斯特：《修道院的僧房》　　　　　　　聖桑斯：《骷髏之舞》　　　　　　拉威爾：鋼琴三重奏，第二樂章　　　　　　C. DEBUSSY: 　　　　　　Prelude No.4 ‘Les Sons Et Les Parfums Tournent Dans L’air Du Soir’ 　　　　　　Prelude No.8 ‘La Fille Aux Cheveux De Lin’

　　　　　　F. CHOPIN: Ballade No.1　　　　　　T. TAKEMITSU: A Bird Came Down the Walk　　　　　　F. LISZT: Die Zelle in Nonnenwerth　　　　　　C. SAINT-SAËNS: Danse Macabre　　　　　　M. RAVEL: Trio for Piano, Violin and Cello, 2nd mvt.

托爾斯泰與米蘭昆德拉：《克羅采奏鳴曲》與《生命中不可承受之輕》

Great Novels in Great Composers’ Eyes．演出者︱對談人：紀大偉（小說家）　　　　　　小提琴：李宜錦、鄧皓敦中提琴：黃瑞儀大提琴：連亦先．演出曲目︱雅納捷克：《克羅采奏鳴曲》　　　　　　貝多芬：第15號絃樂四重奏，作品132 　　　　　　L. JANÁČEK: The Kreutzer Sonata　　　　　　L. V. BEETHOVEN: String Quartet No.15, op.132



75 Chamber Music Series

想知道……

才華洋溢卻又桀驁不馴的普羅科菲夫令人瞠目結舌的音樂巧思在何處，印象派大師德布西如何用音符施展他奇幻、

多變的「音樂煉金術」，熱情又內斂的布拉姆斯如何把他的心情故事偷偷地在音樂之中傾訴，堪稱歌劇製造機的威爾第

又創造了哪些耳熟能詳、感人肺腑的經典老情歌呢？在這些作品背後又隱藏了哪些不為人知的故事？何以膾炙人口？為

何永垂不朽？「探索頻道」的音樂解密專家―焦元溥、范德騰、何康婷將與大家一同來發掘這些藏在樂譜背後的秘密，在

聆聽美妙的音樂同時，享受「知」的樂趣。

　NSO邀請您共赴這結合感性與知性的旅程，一起探究四位作曲家的音樂密碼。

探索頻道Music Discovery


2012/9/28 Fri. 19:30

2012/11/18 Sun. 14:30

2012/11/25 Sun. 14:30

2012/3/31 Sun. 14:30

2013/5/4Sat. 14:30

叛逆天才—普羅科菲夫

The Striking Rebel — Prokofiev．演出者︱主講：焦元溥小提琴：鄧皓敦大提琴：蘇酩惠長笛：安德石鋼琴：葉孟儒、林慧英．演出曲目︱普羅科菲夫：D小調觸技曲，作品11 // 為小提琴與鋼琴的五首無言歌，作品35，第一、

二、五首 // 進行曲，選自《三橘之戀》//〈離別前的羅密歐與茱麗葉〉，選自《羅密歐與茱麗葉》，作品75，改編自芭蕾舞劇的10首鋼琴曲 // 長笛奏鳴曲，作品94，第三、四樂章 // 大提琴奏鳴曲，作品119，第二、三樂章

　　　　　　 S. PROKOFIEV: Toccata in D minor, op.11 // Five Melodies without words for violin and piano, I, II, V, op.35 // ‘March’ from The Love of Three Oranges (for violin and piano) // ‘Romeo and Juliet before Parting’ from Romeo & Juliet, op.75 // Sonata for Flute III, IV, op.94 // Cello Sonata II, III, op.119

色彩斑斕的聲音畫家—德布西

The Splendid Sound-Painter — Debussy．演出者︱主講：焦元溥女高音：許育甄雙鋼琴：王佩瑤、許惠品大提琴：陳怡婷．演出曲目︱德布西：《美麗的夜晚》，作品6 // 〈徒勞歲月〉，選自《浪子》，作品57 // 《三首比莉蒂絲

歌曲集》，作品90 // 〈節日〉，選自《夜曲》，作品91（雙鋼琴版，拉威爾改編）// 給雙鋼琴的《黑與白》，作品134，Ⅱ：緩慢憂鬱的 // 大提琴奏鳴曲，作品135

　　　　　　 C. DEBUSSY: Beau Soir, L.6 // ‘Air de Lia: L'annee en vain chasse l'annee!’ from L'enfant prodigue, L.57 // Trois Chansons de Bilitis, L.90 // Nocturnes, II Fètes, L.91 (two pianos version, arr. by Ravel) // En Blanc Et Noir, Lent. Sombre, L.134 (two pianos) // Cello Sonata, L.135

約翰們走路—范德騰與老布去散步

Just Keep Talking: A Tale of Two Johnnies．演出者︱主講：范德騰小提琴：陳逸群中提琴：呂昭瑩大提琴：韋智盈．演出曲目︱布拉姆斯：B大調鋼琴三重奏，作品8，第一樂章 // A大調小提琴奏鳴曲，作品100，第二

樂章 // E小調大提琴奏鳴曲，作品38，第一樂章 // D小調小提琴奏鳴曲，作品108，第一樂章 // F大調大提琴奏鳴曲，作品99，第三樂章 // G小調鋼琴四重奏，作品25，第四樂章

　　　　　　 J. BRAHMS: Trio in B major, op.8, 1st mvt. // Sonata for Violin and Piano in A major, 2nd mvt. // Sonata for Cello and Piano in E minor, op.38, 1st mvt. // Sonata for Violin and Piano in D minor, op.108, 1st mvt. // Sonata for Cello and Piano in F major, op.99, 3rd mvt. // Piano Quartet in G minor, op.25, 4th mvt. (Rondo alla Zingarese)

歌劇製造機—威爾第(一) & (二)The Opera Jukebox — Verdi (I) & (II)．演出者︱主講：何康婷女高音：羅明芳、林玲慧、李佳蓉男高音：孔孝誠男中音：許德崇　　　　　　鋼琴：蔡世豪．演出曲目︱威爾第：《茶花女》、《命運之力》、《弄臣》、《假面舞會》、《遊唱詩人》、《阿伊達》等

　　　　　　歌劇選粹。

　　　　　　G. VERDI: Highlights from La Traviata, La forza del destino, Rigoletto, Un ballo in maschera, 　　　　　　　Il Trovatore and Aida etc.


講座音樂會｜Lecture Concerts

呂紹嘉時間Meet Maestro Lü

2012年7月11日（三） 19:30

從德布西的《牧神午後》談起 ─ 樂季巡禮講座音樂會主講：呂紹嘉與談人：焦元溥

演出者：NSO獨奏家群　　　　鋼琴／嚴俊傑、陳丹怡簧風琴／許惠品　　　　聲樂家／羅明芳、翁若珮、林健吉、巫白玉璽

地點：國家音樂廳（請由國家音樂廳G樓1號門售票口進場）※ 免費入場

2013年6月22日（六）14:00

華格納歌劇《女武神》主講：呂紹嘉地點：NSO三樓排練室（請由國家音樂廳G樓3號門演職人員出入口進場）※ 憑《女武神》票券、NSO講座PASS進場，座位有限，額滿為止。

認識音樂家Meet

the Musicians


自信而精銳國家交響樂團

交響樂團在每個國家有不同的形成背景，

在沒有西方管絃樂傳統的台灣，過去

樂團都以文化教育體系營運。經過二十

多年耕耘，我們可以驕傲的說，國家交響樂團

（NSO），從交響樂、室內樂到歌劇，是一自信、

精銳，有文化意識的台灣藝術代表團隊。

國家交響樂團的前身「聯合實驗管絃樂團」，

是教育部於1986年集合優秀新生代音樂家，以打

造頂尖交響樂團為目標所成立。2005年成為國立

中正文化中心附設團隊，以「台灣愛樂」立足國

際。歷任常任指揮為Gerad Akoka、Urs Schneider及音樂總監包括許常惠、張大勝、林望傑、簡文彬

等人。近十年來NSO銳意求變，大步朝專業、開

放、勇於創新的職業樂團發展，2010年8月，旅德

知名指揮呂紹嘉接任NSO音樂總監，更將樂團打

造為亞洲地區最具指標性樂團之一。

樂團現有96名團員，每年樂季演出約70場

次。在前任總監簡文彬任內（2001-2007）以演出

作曲家全套交響樂的「發現系列」為系統拓展曲

目，更以歌劇、「永遠的童話」等跨界製作與國內

外劇場菁英合作，開創多項國內先例。2006年全

本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程

碑。2008-2010樂季，樂團由前底特律及多倫多交

響樂團音樂總監赫比希（Günther Herbig）擔任

藝術顧問暨首席客座指揮，持續為NSO訓練出堅

實的演奏實力與動人音樂性；其任內之駐團作曲

家及「NSO Call For Score」計畫，提供國人作品

更多發表空間，並進一步提升NSO的國際樂壇聲

望。

在現任音樂總監呂紹嘉擘劃下, NSO循著既

有基礎, 以多元化的主題貫穿樂季, 呈現給聽眾

智性與感性兼具, 整合與對比並存的廣博曲目，本

著「精緻、深刻、悸動」的信念琢磨出樂團多變細

膩的音色與深刻撼人的音樂表現。不僅積極拓展

NSO演奏近代管絃樂作品的能力，從新維也納樂

派、20世紀法國到俄國近代皆有斐然成績，同時

並致力於鞏固精鍊古典經典名作, 也持續推動國

人管絃樂創作之演出、錄音。

20多年來與NSO合作過的客席指揮家：馬捷

爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、

柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾

等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明

哥、卡瑞拉斯、庫拉、特菲爾、波伽利；吉他大師耶

佩斯、鋼琴家傅聰、拉羅嘉、提博德、魯迪、波哥雷

里奇、薇莎拉絲、賀夫、巴弗傑、寇瓦謝維契、齊

柏絲坦、洛堤、歐森等；大提琴家馬友友、顧德曼、

麥斯基、朱利安．洛伊韋伯、卡普頌、王健、伊瑟利

斯、繆勒-修特；小提琴家林昭亮、胡乃元、夏漢、

明茲、列賓、希拉蕊．韓、宓多里、絲凱德；擊樂家

葛蘭妮、葛魯賓格等逾六百位音樂家。

「在呂紹嘉指揮下，NSO將19世紀末的音樂傳神地演繹！呂不僅引導出團員的光與熱，更將史特

勞斯(歌劇《艾蕾克特拉》)引人入勝的樂曲發揮地淋漓盡致：絃樂擴散性的逼近，銅管與木管則

浸淫在不安的不和諧音中。」 —英國《歌劇》雜誌 2011/05

「呂紹嘉有種天賦異稟的流動性節奏，他歡愉、緊湊的節奏與NSO堪稱絕配，樂團節奏敏銳、

展現出的動人音質令人刮目相看。」 —《美國唱片指南》雜誌 2011/01

「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎派之中韻律感十足，呂紹嘉和樂手們的

互動幾乎到了水乳交融的的境界。(他與)台灣愛樂在廣州的演出，散發出來的吸引力，是一種對

藝術美好的追求。」 —《亞洲週刊》2010/12

「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素…。NSO

的荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」

—英國《留聲機》雜誌 2009/09

78 NSO國家交響樂團


“Under the Viennese-trained Lü, (NSO) made the fin de siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss´

(Elektra s) luscious orchestration: the strings rippled with menace and the brass and woodwind relished their angst-filled discords.＂—OPERA 2011/05

“Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match

for this orchestra s incisive rhythms and astounding ensemble-sine qua non qualities, ...＂—American Record Guide 2011/01

“Shao-Chia Lü handled the second and third movements of Mahler s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic

sense, rendering a powerful delivery... Lü and Taiwan Philharmonic s concert in Guangzhou epitomized the pursuit of artistic perfection.＂

—Yazhou Zhoukan (Asia Week) 2010/12

“There was also a convincing performance of the Adagio from Mahler s Tenth Symphony, Lü s carefully calibrated rendering capturing the angst...

The second programme [featured] an utterly dazzling performance of Brahms Piano Quartet in G minor arranged by Schoenberg.＂—Gramophone 2009/09

National Symphony Orchestra

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

orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nations center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the countrys cultural richness and music educational strength throughout Taiwan.

The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China.

The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard

Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Misha Maisky, Evelyn Glennie, Martin Grubinger, Louis Lorti, Kin-Woo Paik, Stephen Hough, Stephen Kovacevich, and many others.

The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-Min, the world-renowned choreographer and founder of Taiwan s Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009) and Madama Butterf ly (Opera Australia, 2012).

79 National Symphony Orchestra



1989 年畢業於法國Ville de Rueil-Malmason Conservatoire National de Region 國立音樂院

最高級班，回國後受聘為NSO樂團首席至今。累積22年豐富的舞台經驗，經常獲邀至大陸

與俄羅斯等地演出。2002年應邀錄製法國三百年繪畫展音樂CD以及音樂會演出，同年5月

與俄羅斯愛樂室內樂團錄製韋瓦第《四季》專輯，2005 年參加花蓮國際藝術節獨奏演出，

2007年以「發現理查．史特勞斯―提琴在炫技」以及2008年「NSO 首席絃樂團―創團

音樂會」淋漓盡致的獨奏琴藝備受肯定。從2007年開始擔任「夏綠台灣」(Salut Taiwan) 國際音樂節的音樂總監至今。目前並致力於教學、室內樂及指揮演出。

Ting-Yu Wu graduated with Soloist Diploma from the Conservatoire National de Region de Rueil-Malmaison in 1989 and studied violin under Prof. Melle Brignon in France. Upon returning to Taiwan in 1989, he was appointed the concertmaster of Taiwan Philharmonic, a position he still holds today. Having 22 years of experiences appearing on stage 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. In 2005 Wu gave a recital at Hualien International Art Festival. His incisive soloist performance in Heroic Virtuoso in 2007 and

“NSO String Ensemble＂ in 2008, all received critical acclaims. As a soloist with recitals and chamber music activities, Wu is also committed to educate young talents in Taiwan.

樂團首席

吳庭毓ConcertmasterTing-Yu Wu

2002年以碩士學術科特優獎畢業於新英格蘭音樂學院，同年成為國家交響樂團副首

席，2004年受聘為樂團首席至今。精湛琴藝屢獲國際樂壇肯定：Musicorda Concerto Competition首獎、Fischoff International Chamber Music Competition銀牌；亦受邀於泛太

平洋音樂季（1998）、坦格塢音樂季（2000）以及德國什列斯威－霍爾斯坦音樂節（2001）擔

任樂團首席之殊榮。除樂團演奏之外，李宜錦亦致力於推廣現代音樂及涉獵各領域演出，受

邀發表美國現代作曲家Alan Fletche、第34屆葛萊美得主John Corgliano及Johb Harbison等

人之作品，並亞洲首演美國作曲家Susan Botti小提琴協奏曲《在黑暗中》(Within Darkness)。應

小提琴家胡乃元之邀成為Taiwan Connection創團成員之一，並參與雲門舞集II《跳 TONE》

及奇美藝術基金會數位典藏計畫示範演出名琴，致力推廣音樂到每個角落。

Having completed Master's degree with academic honor at the New England Conservatory, I-Ching Li started her position at Taiwan Philharmonic first as the associate concertmaster in 2002, and since 2004 became to serve as the concertmaster. Her virtuosic performances had garnered her top prizes at numerous competitions in the States and Asia, both as a soloist and chamber musician. I-Ching Li has performed in music festivals as a soloist, concertmaster, and orchestra section member all over the world, including Tanglewood Music Festival, Pacific Music Festival, Sarasota Summit Music Festival, Schleswig-Holstein Orchestral Academy, Banff Music festival, and many others. She was honored to have worked with great maestros such as Seiji Ozawa, James Levine, Christoph Eschenbach, Lorin Maazel, Wen-Pin Chien, Shao-Chia Lü and among others. She is excited about the prospect of developing her skills as an artist and collaborating with musicians both locally and abroad.

樂團首席

李宜錦ConcertmasterI-Ching Li

國立台北藝術大學碩士。先後從楊仁傑、徐頌仁以及陳秋盛學習指揮。曾任職高雄市青少年

交響樂團與台大杏林室內樂團等。2006 年獲聘為國家交響樂團助理指揮，指揮NSO【永遠

的童話】及推廣音樂會演出，如《古典動物園》、《皮爾金—昆蟲的異想世界》、《鼠際大

戰》、《古典音樂72 變》、《交響奧林匹克》、《音樂航海王》等，均獲好評。求學期間除獨奏

表現優異以外，亦致力於室內樂及樂團演出，曾多次參與個人獨奏及室內樂比賽獲獎，更數次

參加亞洲青少年管絃樂團、台北愛樂管絃樂團等演出，樂團經驗豐富。

Ying-Fang Chang is a talented conductor of young generation in Taiwan. Graduated from Taipei National University of the Arts in 2004 with Bachelor's degree in the viola and Master's degree of Fine Arts in orchestral conducting. She learned conducting from Sung- Jen Hsu and Felix Chiu-Sen Chen. Since 2006, Chang has been the Assistant Conductor of the Taiwan Philharmonic. She has led works within the “NSO Forever Tales＂ series including Carnival of Animals, Peer Gynt in Wonderland and The Mice War. She has been appeared as a conductor with the Kaohsiung Youth Orchestra and Hsing-Lin Chamber Orchestra of National Taiwan University College of Medicine, and received lots of recognition.

助理指揮

張尹芳 Assistant ConductorYin-Fang Chang


國家交響樂團

音樂總監呂紹嘉

桂冠指揮根特．赫比希

樂團首席吳庭毓

李宜錦

樂團副首席鄧皓敦

助理指揮張尹芳

第一小提琴 ○陳逸群郭昱麟林基弘侯勇光梁坤豪陳逸農卓曉青

　方俊人黃佳頎李庭芳賴佳奇林孟穎李家豪

第二小提琴 ●陳怡茹 ◎孫正玫吳怡慧李京熹黃衍繹顧慈美于爾恩

　康信榮李梅箋鍾仁甫蔡孟峰洪章文陳偉泓王致翔

中提琴 ●黃瑞儀 ◎鄧啟全 ○呂昭瑩黃雅琪李靖宜謝君玲劉國蘭呂孟珊李思琪陳猶白蔡秉璋

大提琴 ●熊士蘭 ◎連亦先 ○韋智盈呂明美周幼雯陳怡婷林宜嫺黃日昇蘇酩惠低音提琴 ●傅永和 ○周春祥王淑瑜黃筱清王淑宜連珮致蔡歆婕長笛 ●安德石 ◎宮崎千佳李浚

短笛　鐘美川

雙簧管 ●王怡靜 ◎林麗玥楊舒婷

英國管　李明怡

單簧管 ●朱玫玲 ◎張凱婷朱偉誼孫正茸

低音管 ●簡凱玉 ◎陳奕秀高靈風

倍低音管　簡恩義

法國號 ●劉宜欣 ◎舒培特 ○黃任賢國田朋宏王婉如

小號 ●宇新樂 ◎陳長伯張景民吳建銘

長號 ●宋光清 ◎邵恆發陳中昇

低音長號　彭曉昀

低音號 ●宮西純

定音鼓 ●連雅文 ◎陳廷銓

打擊樂 ●陳哲輝陳振馨楊璧慈豎琴 ●解瑄

鍵盤 ▲陳丹怡

●首席　◎副首席　○助理首席　▲樂季合約人員　

執行長—邱瑗

企劃製作經理—杜佳舫

公關專案經理—王承禹

企劃行銷

企劃/音樂總監特助—謝祥雯企劃專員—吳孟珊　劉子瑛整合行銷專員—陳卜湄行銷組長—許匯真行銷專員—林欣儀　陳偉馨

演出行政

人事組長—林碧珠

舞台監督—陳嘉宏

譜務專員—高婉瑜

行政專員—溫慧雯

音樂諮詢—焦元溥

81 National Symphony Orchestra


National Symphony Orchestra

SHAO-CHIA LÜ Music DirectorGÜNTHER HERBIG Conductor Laureate

TING-YU WU ConcertmasterI-CHING LI Concertmaster HAO-TUN TENG Associate ConcertmasterYIN-FANG CHANG Assistant Conductor

FIRST VIOLIN ○Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen 　Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao LeeSECOND VIOLIN ●Yi-Ju Chen ◎Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang 　Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang WangVIOLA ●Grace Huang ◎Chi-Chuan Teng ○Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu 　Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang TsaiCELLO ●Lana Hsiung ◎Yi-Shien Lien ○Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Li 　Mei-Jain Li Jih-Sheng Huang Ming-Huei Su DOUBLE BASS ●Yung-Ho Fu ○Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien 　Hsin-Chieh TsaiFLUTE ●Anders Norell ◎Chika Miyazaki Chuin LeePICCOLO 　Mei-Chuan ChungOBOE ●I-Ching Wang ◎Li-Yueh Lin Shu-Ting YangENGLISH HORN 　Ming-I LeeCLARINET ●May-Lin Ju ◎Kai-Ting Chang Wei-I Chu Cheng-Jung SunBASSOON ●Kai-Yu Jian ◎I-Hsiu Chen Ling-Feng KaoCONTRABASSOON 　En-Yi ChienHORN ●Yi-Hsin Cindy Liu ◎Supreeti Ansvananda ○Jen-Hsien Huang Tomohiro Kunita Wan-Ju WangTRUMPET ●Nicolas Rusillon ◎Chang-Po Chen Ching-Min Chang Chien-Ming WuTROMBONE ●Kuang-Ching Sung ◎Hang-Fat Shiu Chung-Sheng ChenBASS TROMBONE 　Hsiao-Yun PengTUBA ●Jun MiyanishiTIMPANI ●Ya-Wen Lien ◎Ting-Chuan ChenPERCUSSION ●Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang HARP ●Shuen ChiehKEYBOARD △Dan-Yi Chen

● Principal ◎ Associate Principal ○ Assistant Principal △Season Contracted Musicians 　

JOYCE CHIOU—Executive Director

SARAH TU— Manager, Planning & ProductionPAUL WANG—Manager, PR & Development

Artistic Planning & MarketingSHELBY HSIEH—Programme Coordinator/ Special Assistant to MD MENG-SHAN WU—Programme CoordinatorAMY LIU—Programme Coordinator PU-MEI CHEN—PR & Project CoordinatorEMILY HSU— Assistant Manager, Media & MarketingEILEEN LIN—Marketing & Publications Coordinator CINDY CHEN—Marketing & Media Coordinator

Production & AdministrationBIBI LIN—Assistant Manager, PersonnelCHIA-HUNG CHEN—Stage ManagerBRITTNEY KAO—LibrarianWEN WEN—Production & Admin. Coordinator YUAN-PU CHIAO—Concert Dramaturgist



83 Meet the Guest Artists

認識客席音樂家 MEET THE GUEST ARTISTS

亞美尼亞小提琴家瑟吉．哈察特楊，2000年時以15歲之齡贏得了西貝流士小提琴大賽第一名，2005年又拿下伊麗莎白女王小提琴大賽首獎；柏林愛樂、皇家大會堂、法國國家交響、倫敦交響、倫敦愛樂、慕尼黑愛樂及NHK等世界一流樂團經常與他合作。2011/2012樂季重點邀演包括：班貝格交響、柏林廣播、巴黎管絃以及與阿姆斯特丹小交響樂團世界首演奧赫倫尼的協奏曲。哈察特楊的錄音由Naïve發行，曾灌錄西貝流士小提琴協奏曲、兩首蕭斯塔科維契小提琴協奏曲、蕭斯塔科維契奏鳴曲及法朗克奏鳴曲等；最新發行的CD是巴赫的六首無伴奏奏鳴曲及組曲。哈察特楊使用的樂器是由日本音樂基金會所出借的1740年「易薩伊」瓜奈里小提琴。

Born in Yerevan, Armenia, Sergey Khachatryan won First Prize in the VIII International Jean Sibelius Competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed the First Prize at the Queen Elisabeth Competition in Brussels. Sergey has performed with orchestras such as the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Orchestre National de France, Orchestre de Paris, London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, NHK Symphony in Tokyo, Munich Philharmonic and the Tonhalle Orchestra in Zurich. Sergey s 2011-12 season includes concerts with the Bamberg Symphoniker under Herbert Blomstedt, Rundfunk Symphonieorchester Berlin with Juraj Valcuha, Orchestre de Paris with Andris Nelsons.

小提琴

瑟吉．哈察特楊violinSergey Khachatryan

2012/9/21

1977年生於高爾基，從小學習鋼琴。1986年，因背部受傷，轉而向父親米凱爾．納卡里亞可夫學習小號。10歲開始參加在聖彼德堡舉行的多項青年音樂家比賽，1991年於波哥雷里奇音樂節的演出大獲成功，並於同年8月與立陶宛室內管絃樂團於薩爾茲堡音樂節演出。一年後，納卡里亞可夫獲得大衛杜夫獎的肯定，此後便經常受邀於世界各地主要的音樂廳與音樂節中演出，並與各地主要樂團合作。2002年獲得德國唱片協會ECHO大獎肯定。納卡里亞可夫在25歲便打破樂界對小號演奏已知的種種限制；他已發展出個人獨特的聲音，不再只是令人驚奇的超凡技藝；除了擅長演奏傳統的經典曲目，也不斷開發新作品與尋找新的表現方式。

Dubbed “The Paganini of the trumpet＂ by the Finnish press after a performance at the Korsholm Festival, and in 1997 “Caruso of the Trumpet＂ by Musik und Theater, Sergei has developed a unique musical voice, which is, much more than a vehicle for astonishing virtuosity. Born in Gorky, Sergei started to perform with orchestras in major concert halls of the Soviet Union. In 1991 he enjoyed great success at the Ivo Pogorelich Festival in Bad Wörishofen. In August of the same year he made his debut together with the Lithuanian Chamber Orchestra at the Salzburg Festival. In 1992 Sergei was a guest at the “Schleswig - Holstein Musikfestival＂ where he was awarded the “Prix Davidoff＂. Since then he has appeared in many of the worlds leading centers of music and collaborated with the world s most feted musicians, orchestras and conductors. On Oct. 13, 2002 Sergei Nakariakov received the ECHO Klassik Award on ZDF as instrumentalist of the year from the German Phono-Academy.

小號

瑟吉．納卡里亞可夫trumpetSergei Nakariakov

2012/9/29

畢業於國立臺灣藝術大學鍵盤組，國立維也納音樂暨表演藝術大學指揮碩士。1995年於以

色列榮獲首屆伯恩斯坦指揮大賽特別獎。1996年起擔任德國萊茵歌劇院駐院指揮迄今，並

於1998至2004年擔任日本太平洋音樂節常任指揮。2001至2007年任NSO音樂總監。簡文

彬除以歌劇指揮身分，受邀於奧地利、荷蘭、德國及瑞士等地劇院指揮演出，也客席指揮

包括奧地利、義大利、捷克、俄國、法國、日本、德國、香港及中國等地交響樂團。2009年與導演Christoph Nel推出荀白克歌劇《摩西與亞倫》新製作，被德國重要媒體及評論譽

為該劇院近十年來最成功的製作。2010年帶領德國萊茵歌劇院於德國魯爾區「2010年歐洲

文化首都」，演出德國作曲家亨策（Hans Werner Henze）歌劇《費朵拉》。2012年受邀指

揮英國愛樂管絃樂團，並擔任奧地利Schwaz現代音樂節開幕音樂會指揮。

Kapellmeister of the Deutsche Oper am Rhein (since 1996/1997 season), Resident Conductor of the Pacific Music Festival in Japan (1998-2004) and Music Director of Taiwan Philharmonic of Taiwan (2001-2007). Chien graduated from the National Taiwan Academy of Arts summa cum laude (1988) with major in piano, and gained his master s degree in conducting at the National University for Music and Performing Arts in Vienna (1994). Chien won the first prize at the International Conducting Competition

“La Bottega＂, Treviso (1992), Douai (1994), and the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition, Israel (1995). As a guest conductor, Chien has worked with the Wiener Kammeroper, The Nederlands Opera, Hamburgische Staatsoper, Komische Oper Berlin, Opernhaus Graz, Theater Bonn and Grand Théâtre de Genève.

指揮

簡文彬conductorWen-Pin Chien

2012/10/52013/5/31


84 認識客席音樂家

1994年出生於台北。曾受教於林柏山、沈英良、李宜錦、陳沁紅，2008年前往美國寇蒂斯音樂院跟隨小提琴家Ida Kavafian學習。從小即獲得多項全國性及國際性比賽的榮譽，2004年榮獲全國學生音樂比賽第一名，2006年榮獲曼紐因國際青少年小提琴大賽第三名，2009年榮獲美國費城管絃樂團協奏曲比賽第一名、西班牙薩拉沙泰國際小提琴大賽第一名及最佳演奏獎，2010年榮獲義大利帕格尼尼國際小提琴比賽協奏曲最佳演奏獎，2011年榮獲俄國柴科夫斯基國際小提琴比賽評審特別獎，榮獲2011韓國尹伊桑國際小提琴比賽第一名及最佳詮釋獎，曾受邀與台北市交、台灣絃樂團、美國費城、西班牙納瓦拉、及國家交響樂團擔任協奏曲獨奏。

Born in Taipei, Taiwan, Yu-Chien Tseng began playing violin at the age of five and now studies at the Curtis Institute of Music with Ida Kavafian. Yu-Chien is the winner of numerous competitions, including the first prize and the best interpreting prize of Isang Yun International Violin Competition in Korea, and the jury discretionary award in the 14th International Tchaikovsky Competition in Russia. In 2011, one of the winners of the 53rd Premio Paganini International Violin Competition and the best performance of the Paganini Concerto in Italy in 2010, and the first prize winner of the 10th Pablo Sarasate International Violin Competition in Spain and the first prize of the junior division of the Philadelphia Orchestra Albert M. Greenfield Competition in 2009. He has performed as a soloist with the Philadelphia Orchestra, the Navarra Symphony Orchestra in Spain, the Taipei Symphony Orchestra, the Academy of Taiwan Strings and Taiwan Philharmonic in Taiwan.

小提琴

曾宇謙violinYu-Chien Tseng

2012/10/5

伊古德斯曼出生於列寧格勒，從未贏過任何比賽，因為他不曾參賽。就讀於曼紐因音樂院期間，讀完蕭伯納、王爾德及契訶夫的戲劇全集，雖對他的小提琴琴藝並無幫助，但讓他愚蠢地自覺比那些沒那麼聰明但勤於練習的同儕更高一等。於維也納音樂院師事鮑利斯．庫胥納，在不同的人分別表示擔憂他的前途後，他展開成功的音樂生涯，為他的絃樂三重奏團「三部曲」演奏、作曲及編曲。他們為BMG錄製多張專輯，赴好萊塢與奧斯卡金像獎得主漢斯．秦默共事，並與鮑比．麥克菲林、朱利安．拉赫林及簡琳．詹森同臺演出。在學期間，他邂逅了日後成為「伊古德斯曼＆朱」搭檔的夥伴朱鉉基。他們聯手創作的《來一點夢魘音樂》巡迴各地，逗得觀眾捧腹大笑。阿雷格西．伊古德斯曼使用由維也納第一銀行慷慨借予的1717年製「聖撒拉弗」小提琴。

Igudesman was born in Leningrad. He has never won any competitions, mainly because he has never entered any. During his studies at the prestigious Yehudi Menuhin School, he read the entire plays of Bernhard Shaw, Oscar Wilde, and Anton Chekhov, which didn t improve his violin playing, but made him feel foolishly somewhat superior to other less intellectually endowed, yet harder practising, colleagues. After studying with Boris Kuschnir at the Vienna Conservatoire and being told many times by many people that they were rather worried about his future, he embarked on a successful career playing, composing, and arranging for his string trio, “Triology＂, recording several CD s for BMG, working in Hollywood with Academy Award winner. Igudesman plays on a Santo Seraphin violin from the year 1717, which is kindly loaned to him by ERSTE BANK.

小提琴

阿雷格西．伊古德斯曼violinAleksey Igudesman

2012/10/11-13

朱鉉基在襁褓時期即展現出喜劇本能，不久之後更顯露出對音樂的愛好。他的父母發現他流連唱片行數小時，傾聽從莫札特到比吉斯合唱團的音樂（儘管比吉斯合唱團和莫札特很不同，朱鉉基的父母仍發現他竟能以比吉斯的風格演唱《唐．喬望尼》）。8歲開始學鋼琴，兩年半之後獲得曼紐因音樂院的入學許可，但他發現同學們不是天才就是神童，讓他不時擔心自己程度太差，會被退學。事實上，他沒被退學，而是被老師及同學們踢來踢去，沒有老師想教他，也沒有同學想和他同組，這些痛苦的經驗讓朱鉉基發展出他稱之為「空手道鋼琴」的全新演奏方式。他也了解到古典音樂世界與音樂精髓不太相關，於是他開始構想如何將古典音樂帶給更多的新聽眾―他在推出的《來一點夢魘音樂》中終於實現夢想。

He showed his first signs of a sense of comedy whilst nappy-changing and shortly thereafter, showed his love for music when his parents would find him at the record store listening for hours to everything from Mozart to Bee Gees. He started piano lessons at the age of eight and a half and two years later won a place at the Yehudi Menuhin School. There, he discovered that he was among geniuses and child prodigies and was convinced he would be kicked out of school, year after year. In fact, he was not kicked “out＂ but kicked

“around＂ by teachers and fellow students, such as Aleksey Igudesman. After these painful experiences, Joo invented a new type of piano playing known as “Karate Piano＂. He began dreaming of a way to bring this great music to a wider and newer audience– a dream which has recently been realized through his show: “A Little Nightmare Music＂.

鋼琴

朱鉉基pianoHyung-ki Joo

2012/10/11-13



凱塔尼身兼歌劇與音樂會指揮家，他對於這兩種領域的指揮工作皆投注了相同的關注力。在羅馬聖西利亞音樂院時，追隨法蘭科．費拉拉學習指揮，並向厄爾馬．拉維那勒學習作曲。其後轉赴莫斯科音樂院跟隨奇瑞爾．孔德拉辛鑽研指揮，並隨娜潔絲達．尼可拉耶夫學習音樂學；隨後投入伊利亞．慕辛門下攻讀指揮，畢業於聖彼得堡音樂院。凱塔尼贏得杜林義大利國家廣播電視指揮大賽，以及柏林卡拉揚指揮大賽，他曾經擔任威瑪德國國家歌劇院首席指揮、法蘭克福歌劇院資深指揮，並先後成為威斯巴登歌劇院、開姆尼茨歌劇院與羅伯特．舒曼愛樂管絃樂團的音樂總監。凱塔尼與墨爾本交響管絃樂團錄製的湯斯曼交響曲作品，贏得了2006年與2008年金音叉大獎。

Oleg Caetani is an opera and concert conductor. He considers these two aspects of his work equally important. At the Rome Conservatory of Santa Cecilia he attended Franco Ferrara s conducting class and studied composition with Irma Ravinale. He then went to the Moscow Conservatory to study conducting with Kyrill Kondrashin and musicology with Nadezhda Nikolaev. He graduated from the St Petersburg Conservatory in conducting with Ilya Musin. Winner of the RAI Turin competition and Karajan Competition in Berlin, he started his career at the Berlin State Opera “Unter den Linden＂ as repetiteur and assistant of Otmar Suitner. Since then he has been Chief Conductor at the German National Theatre in Weimar, First Conductor at the Frankfurt Opera House, Music Director first at the Wiesbaden Opera House, later at the Chemnitz Opera House and of the Robert Schumann Philharmonic Orchestra. His three recordings of Tansman s Symphonies, released by Chandos, have won the Diapason d Or in 2006 and 2008.

指揮

奧列格．凱塔尼conductorOleg Caetani

2012/10/19

拉錫克出生於克羅埃西亞的札格拉布，成長於薩爾茲堡，曾就讀國立莫札特音樂暨表演藝術大學。近年來迅速在國際樂壇崛起，英國《留聲機》雜誌盛讚他為一位「不凡、才華橫溢的鋼琴家，以琴聲打動了群眾」；而美國《紐約時報》曾為其精湛演出評論道：「饒富詩意、優美的音色，熱烈且興味盎然的樂音，如此真摯！」除了個人獨奏會，拉錫克也頻繁受邀以獨奏家的身分與樂團合作演出，包括與伊凡．費雪／布達佩斯節慶管絃樂團、彼得連科／倫敦愛樂、萊比錫中德廣播交響樂團、丹麥國家交響樂團、巴西聖保羅交響樂團等。他在彼得連科指揮下與倫敦愛樂管絃樂團共同演出的拉赫瑪尼諾夫第二號鋼琴協奏曲音樂會實況錄音，則榮獲2009年德國《古典回聲》唱片大獎的肯定。

Born in Zagreb, Croatia, and grew up in Salzburg, Lazić studied at the Mozarteum. He has quickly established a reputation worldwide as “a brilliant pianist and a gifted musician full of ideas and able to project them persuasively＂ (Gramophone). The New York Times hailed his performance as “full of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassioned.＂ After a highly successful Edinburgh Festival recital, The Scotsman wrote recently: “Dejan Lazić shines like a new star.＂ As recitalist and soloist with orchestra, Dejan Lazić has often played with the Budapest Festival Orchestra, the London Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, MDR Leipzig, Danish National Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, BBC Philharmonic Orchestra, and many others. He records exclusively for Channel Classics. His live recording of Rachmaninov Piano Concerto No.2 with London Philharmonic Orchestra under Kirill Petrenko received the prestigious German Echo Klassik Award 2009.

鋼琴

德傑．拉錫克pianoDejan Lazić

2012/10/19

俄羅斯男低音，生於烏法，亞德拉札可夫在烏法國立音樂院取得音樂學位，再於國立莫斯科音樂院進修。除了在俄羅斯國內獲獎無數外，他擁有贏得卡拉斯聲樂大賽（1995）和拉赫瑪尼諾夫國際聲樂大賽（1998）首獎之輝煌紀錄。他在職業演唱生涯曾經飾演過的著名歌劇男低音角色難以計數，其中當以義大利歌劇（威爾第、浦契尼）和俄羅斯民族歌劇曲目最具代表性。例如威爾第《唐．卡羅》的國王腓力普二世、《阿伊達》的大祭司拉姆菲斯、浦契尼《杜蘭朵公主》裡的國王帖木兒、穆梭斯基《玻利斯．戈都諾夫》的同名領銜主角等；此外，莫札特《唐．喬望尼》裡的唐．喬望尼和僕人雷波列洛，白遼士《浮士德的天譴》裡的魔鬼梅菲斯特也都是他的拿手劇目。

Askar Abdrazakov was born in Ufa of the Republic of Bashkortostan, Russia. He received his music degree at the Ufa Institute of Arts and then studied at the Moscow Conservatory. In addition to numerous awards in Russia, he also won the first prizes of the Maria Callas Competition in 1995 and the International Sergei Rachmaninov Competition in 1998. He has played countless bass roles in famous operas. The most representative ones are Italian operas (Verdi and Puccini) and Russian folk operas. His career highlights include Philip II of Verdi s Don Carlo, Ramfis of Aida, Timur of Puccini s Turandot, Boris of Mussorgsky s Boris Godunov, the title role and Leporello of Mozart s Don Giovanni, and Méphistophélès of Berlioz s Faust.

男低音

阿斯卡．亞德拉札可夫bassAskar Abdrazakov

2012/10/19



出身巴黎音樂世家，以小號主修畢業於喀斯魯音樂院與巴黎國立高等音樂院，1996年獲得巴黎國立高等音樂院頒贈小號第一獎。2002年參加亞斯本夏日音樂節並事師大衛．辛曼，開始對指揮工作產生興趣，爾後受教於艾明．喬登，也與伯納德．海丁克、柯林．戴維斯爵士與帕弗．賈維等人密切合作。蓋柏為當今各大樂團爭相邀請的年輕指揮家之一，經常受邀為歐洲各主要樂團擔任客席指揮，近期內與許多知名樂團首次合作演出，包括德勒斯登國家管絃、英國BBC、奧斯陸愛樂、皇家蘇格蘭國家管絃、倫敦愛樂管絃、法國廣播愛樂、及台灣國家交響樂團合作演出。未來兩年蓋柏也將與許多知名獨奏家包括葛替耶爾．卡普頌、尼可拉斯．阿爾斯達德、法朗克-彼得．齊瑪曼、娜塔莉．曼費勞等人合作。他合作過的獨奏家包括了尚-伊孚．提鮑德、基頓．克萊曼、瑟吉．哈察特楊等。

A guest conductor of such orchestras as the London Symphony Orchestra, the London Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, the Orchestre de Paris, the Royal Philharmonic Orchestra, the Orchestre National de France, the Orchestre Philharmonique de Radio-France, the Orchestre Métropolitain de Montréal, Gabel first attracted international attention in 2004 winning the Donatella Flick competition in London, which subsequently led to his appointment as the LSOs assistant conductor for the 2004-2006 seasons. Since then, the LSO has engaged him regularly as a guest conductor. The next two seasons will see prestigious debuts for Fabien Gabel with such orchestras as the Staatskapelle Dresden, the BBC Symphony Orchestra, the Oslo Philharmonic, the Royal Scottish National Orchestra. Among the soloists he will work with in these seasons, are Gautier Capuçon, Nicolas Altstaedt, Frank-Peter Zimmermann or Nathalie Manfrino. Fabien Gabel has collaborated with a number of renowned musicians such as Pierre-Laurent Aimard, Jean-Yves Thibaudet, Gidon Kremer and Sergey Katchatryan, among many others.

指揮

費比恩．蓋柏conductorFabien Gabel

2012/10/27

《留聲機》雜誌讚譽為「大提琴穹倉中的一顆年輕之星」，2001年2月獲頒有法國葛萊美獎之稱的「音樂之光」的「年度新秀獎」後，卡普頌成為了年輕一代最負盛名的大提琴家之一。在就讀夙負盛名的國立巴黎高等音樂學院時，即於1999年贏得法國聖占路茲拉威爾音樂學院的首獎，及土魯斯的納瓦拉大賽冠軍。2000年6月，他贏得國立巴黎高等音樂院的大提琴及室內樂獎，2004年贏得Burlotti-Buitoni Trust的藝術家大獎。近年演出合作包括：杜達美／洛杉磯愛樂管絃樂團、杜特華／舊金山及費城管絃、賈維／慕尼黑愛樂、巴黎管絃、鄭明勳／法國廣播愛樂管絃樂團等等。卡普頌致力於室內樂，並和許多頂尖的音樂家合作演出，例如阿格麗希、巴倫波因、寇瓦謝維契、普雷特涅夫、齊柏絲坦、拉貝克等，以及和他音樂淵源最深的兄長，也就是知名小提琴家雷諾．卡普頌。

Gautier Capuçon has been called “A young star in the cello firmament＂ by Gramophone. Since winning the French Victoires de la Musique as “New Talent of the Year＂ in 2001 he has quickly established himself as one of the leading cellists of his generation. Gautier Capuçon studied in Paris at the Conservatoire National Supérieur de Paris with Philippe Muller, Annie Cochet-Zakine and Christophe Egiziano, as well as Heinrich Schiff in Vienna. In addition to numerous first and second prizes in international competitions, Gautier won the Cello and Chamber Music Prize at the Conservatoire in June 2000 and received a Burlotti-Buitoni Trust award in 2004. His musical experiences progressed greatly while playing in the European Community Youth Orchestra and the Gustav Mahler Jugendorchester, as he was afforded opportunities to work with Bernard Haitink, Kent Nagano, Pierre Boulez, Daniele Gatti, Seiji Ozawa and Claudio Abbado, with whom he has taken part in two European tours. Gautier Capuçon plays a 1701 Matteo Goffriler cello.

大提琴

葛替耶爾．卡普頌celloGautier Capuçon

2012/10/27

林以信以兼具獨奏與室內樂演奏家的身分活躍於國際樂壇。近期於東京三多利音樂廳、台北國家音樂廳、倫敦威格摩爾音樂廳、阿姆斯特丹大會堂、華盛頓甘迺迪中心等地的演出，皆獲好評。曾與波士頓交響樂團、新日本愛樂、台灣國家交響樂團、奧克蘭愛樂等樂團合作協奏曲，並經常參與國際著名音樂節，如萬寶路音樂節、西雅圖室內樂音樂節等。2011年，林以信成為歷史悠久、享譽國際的茱莉亞絃樂四重奏第一小提琴演奏家。他也是2006年「倫敦國際絃樂四重奏大賽」首獎得主、「福爾摩沙絃樂四重奏」的創始團員之一。1996年獲得「音樂家協會國際大賽」首獎，同年並獲得美國「總統藝術家獎」。2001年於第一屆紐西蘭「麥可．希爾世界小提琴大賽」中獲得首獎。除獲獎無數外，亦有不少的個人錄音作品出版，包括N&F唱片發行的「巴赫與易沙意無伴奏小提琴奏鳴曲」、Naxos唱片發行的「布梭尼與康果小提琴曲集」等。

An active solo and chamber musician, Joseph Lin s performances this past year have taken him to Suntory Hall, the National Concert Hall in Taipei, the Concertgebouw, and the Kennedy Center. He has appeared as soloist with the Boston Symphony, the New Japan Philharmonic, the Sapporo Symphony, the Taiwan Philharmonic and many others. His regular festival appearances include Marlboro, the Seattle Chamber Music Festival, and the Tucson Winter Festival. In 2011, Joseph Lin joined the renowned Juilliard String Quartet as the ensemble s new first violinist. Along with the Quartet s extensive performing schedule, Mr. Lin teaches violin and chamber music as a faculty member of the Juilliard School. Mr. Lin was a founding member of the Formosa Quartet, winner of the 2006 London International String Quartet Competition. His recordings include the music of Korngold and Busoni on the Naxos label, the unaccompanied works of Bach and Ysayë on the N&F label, and the Formosa Quartet s debut CD released by EMI.

小提琴

林以信violinJoseph Lin

2012/11/2-8（東北亞巡演）



澳洲出生的指揮家米爾頓經常受邀於歐洲知名樂團與歌劇院演出。於2004年至2010年擔任德國耶拿愛樂管絃樂團音樂總監，米爾頓以活潑的指揮風格聞名，為他所指揮的曲目注入一股新的活力。米爾頓曾與倫敦愛樂管絃、漢諾威北德廣播愛樂、威斯巴登歌劇院管絃、斯圖加特南德廣播交響、柏林音樂廳管絃樂團、薩爾布呂肯德意志廣播愛樂等合作演出。在新樂季中，米爾頓將首度與斯圖加特愛樂管絃樂團、匈牙利MAV交響樂團（布達佩斯）、瑞士洛桑室內管絃樂團演出。米爾頓同時也致力於歌劇指揮工作，近期將會於慕尼黑演出《魔笛》、柏林喜歌劇院演出《蝙蝠》、以及維也納演出《魔笛》與《茶花女》。米爾頓同時擁有小提琴、指揮、音樂理論、哲學等碩士學位，及紐約市立大學音樂博士；1999年獲澳洲交響樂團年度指揮家大賽首獎，並於瑪塔契克國際青年指揮家大賽中獲獎。

Of Hungarian and French parentage, Australian-born Nicholas Milton enjoys a flourishing European conducting career, working with many of the continent s most prestigious orchestras and theaters. He is renowned for his dynamic conducting style and his fresh and invigorating approach to a repertoire of unusual breadth and variety. General Music Director of the Jena Philharmonic Orchestra from 2004 to 2010, the Germany-based conductor is renowned for his charismatic stage presence and a fresh and invigorating approach to a repertoire of unusual breadth and variety. Milton s forthcoming engagements include return visits to the NDR Radiophilharmonie Hannover, Deutsche Radio Philharmonie Saarbrücken, Staatsphilharmonie Rheinland-Pfalz, Dortmunder Philharmoniker, Orchestra della Svizzera Italiana, and the Sydney Symphony, debuts with orchestras including the Stuttgarter Philharmoniker, MAV Symphony Orchestra Budapest, Orchestre de Chambre de Lausanne, and concert tours of Japan and Switzerland.

指揮

尼可拉斯．米爾頓 conductorNicholas Milton

2012/11/24

勒樂是當代公認最卓越的雙簧管演奏家。演奏曲目涵蓋巴洛克到當代作品；經常受邀與柏林愛樂、德意志交響、維也納交響、及NHK 交響等國際名團協奏演出，並與布列茲、楊頌斯、戴維斯爵士、鄭明勳、哈丁、薩瓦利許等知名指揮合作。18歲時，即擔任巴黎歌劇院的雙簧管首席，三年後轉任巴伐利亞廣播交響相同職位至2004年；自2003年起，又擔任歐洲室內樂團的雙簧管首席。在索尼古典音樂發行了三張專輯，最新的專輯收錄了理查．史特勞斯雙簧管協奏曲及管樂小夜曲。勒樂相當熱中於室內樂，定期與〈巴黎-巴士底〉八重奏及法國木管六重奏合作；在他的獨奏會上，經常與豎琴家莫瑞蒂及小提琴家妻子巴蒂雅許薇莉搭檔。從2012-13樂季開始，勒樂將成為巴黎室內管絃樂團的一員，目前他執教於慕尼黑音樂與戲劇大學。

Recognised throughout the world as the best oboist of his generation, François Leleux enjoys an international career appearing with major orchestras and at important venues and festivals performing repertoire from the baroque to newly commissioned works. He has worked with leading conductors such as Pierre Boulez, Mariss Jansons, Sir Colin Davis, Myung-whun Chung, Daniel Harding, Thomas Dausgaard, Wolfgang Sawallisch and Alan Gilbert. From season 2012/13 Leleux will be Artist in Association with the Ensemble Orchestral de Paris. Leleux began his professional career when, aged eighteen, he was appointed Principal Oboe at Opéra de Paris. Three years later he won the solo position in Bayerischer Rundfunk Symphonieorchester, a position he held until 2004. His musical activities are now split between solo appearances, playing/directing, chamber music, recitals and concerts with the Chamber Orchestra of Europe, of which he was appointed Principal Oboe in 2003. He is also a Professor at the Hochschule für Musik und Theater München.

雙簧管

馮思瓦．勒樂oboeFrançois Leleux

2012/11/24

英國皇家音樂院特優演唱文憑，英國皇家音樂院音樂學士學位，國立藝專音樂科畢業。自2000年返台以來，活躍於國內外歌劇、神劇、藝術歌曲等演唱領域，近期演出包括《修女安潔莉卡》、《聖馬太受難曲》（台灣首演）、與馬勒第二號交響曲《莎弗》、《鄉村騎士》、古諾的《莊嚴彌撒》等。2010年間受澳門樂團之邀，參與演出《彌賽亞》，同年並與NSO演出馬勒第四號交響曲、孟德爾頌第二號交響曲和《詩篇42篇》等。歌劇演出包括《霍夫曼的故事》、《糖果屋》、《唐．喬望尼》、《茶花女》、《指環》、《女人皆如此》、《強尼史基基》、《夢遊女》、《魔笛》、《黛朵與艾涅斯》等。林慈音對藝術歌曲推廣也不遺餘力，除了個人獨唱會之外，並參與室內樂、講座音樂會，飽受好評。

Graduated from the Royal Academy in Music in London with performance diploma with distinction, Grace Lin has engaged in various performances and has become one of the most sought-after singers in Taiwan. She has been invited to sing in concerts and operas with Taiwan Philharmonic, Taipei Symphony Orchestra(TSO), Taipei Philharmonic Foundation, Bangkok Opera and MidWales Opera etc. Her most recent performances include Taiwan premier of Bach St. Matthew Passion, Mahler Symphony No. 2, Puccini's opera Suor Angelica. Past performances include Mahler's Symphony No. 4 with Taiwan Philharmonic, Messiah with the Macao Symphony Orchestra, and also Mendelssohn Symphony No. 2

“Lobgesang＂ and Psalm 42, again with Taiwan Philharmonic and Taipei Philharmonic Chorus. Her operatic performances include: Sapho, Les contes d’Hoffman, Hansel und Gretel, Don Giovanni, Die Walkuere, Das Rheingold, Gianni Schicchi, Cosi fan tutte, La sonnambula, Die Zauberfloete , etc. Apart from concerts and operas, Grace Lin also devoted herself to art songs and recitals and lecture recitals.

女高音

林慈音sopranoGrace Lin

2012/12/8



國立臺灣大學土木工程學系畢業後，蔡文浩赴英國深造聲樂，受教於知名男中音 Brian Rayner Cook。一年之內取得伯明罕音樂院表演及教學文憑，目前旅居倫敦。在英演出歌劇及擔任多齣神劇與彌撒之獨唱，並應駐英代表處邀請於「旅英傑出音樂家聯合音樂會」中演唱；曾參與現代舞團 Dance Continuuuum 舞碼《Artsong》中之音樂及舞蹈演出。多次應邀回國演出《費加洛婚禮》、《後宮誘逃》、《奧泰羅》、《阿依達》、《茶花女》、《卡門》、《杜蘭多公主》、《波希米亞人》、《托斯卡》、《漂泊的荷蘭人》、《浮士德的天譴》之主要角色；並曾擔任韓德爾《彌賽亞》、貝多芬《合唱交響曲》、《合唱幻想曲》、白遼士《莊嚴彌撒》等神劇、彌撒、大型合唱作品之獨唱，均獲好評。

After graduating from the National Taiwan University, Wen-Hao Tsai was offered a special scholarship at Birmingham Conservatoire to study with Brian Rayner Cook. Whilst at the Conservatoire, he was awarded three vocal diplomas, two with distinction. He has returned to Taiwan frequently to take part in operas and as bass soloist in oratorios, masses and large scale choral works, and made his London South Bank solo debut in the Queen Elizabeth Hall in 1992 with the London Festival Orchestra. He has sung as bass soloist in Bach s cantatas and oratorios, Mozart s Requiem, Verdi s Requiem, Rossini s Petite Messe Solennelle, Puccini s Messa Di Gloria, Fauré s Requiem, Steiner s Crucifixion. He has made recording of Chinese art songs with National Taiwan Symphony Orchestra and Mr. Tyzen Hsiao s cantata The Prodigal Son with Formosa Singers.

低男中音

蔡文浩bass-baritoneWen-Hao Tsai

2012/12/8

台灣彰化人。林孟君為美國辛辛那提大學聲樂博士候選人，畢業於國立臺灣師範大學音樂系、國立臺北藝術大學音樂碩士班，目前任教於實踐大學音樂系以及台北城市科技大學。曾獲2001台北德文藝術歌曲大賽專業組第四名，奇美文化基金會聲樂類藝術人才培訓獎金，2003年聲協新秀，教育部公費留學，坦格塢音樂中心聲樂獎學金，美國聲樂教師協會比賽俄亥俄州第一名等獎項。演出曲目涵蓋巴洛克至當代作品，尤其擅長聲樂室內樂以及現代音樂之詮釋。

Meng-Chun Lin is currently an adjunct instructor at Shih-Chien University and Taipei Chengshih University of Science and Technology, where she teaches vocal chamber music and liberal arts courses. She is also a candidate of Doctor of Musical Arts in University of Cincinnati. While her repertoire includes music from all historical periods, her specialty is in vocal chamber and contemporary music. Lin has won numerous awards and scholarships, and was chosen to represent CCM in Barbara Cook's masterclass at Zankel Hall in Marilyn Horne Foundation Masterclass Series in 2007. Lin received Masters of Fine Arts from Taipei National University of the Arts in vocal performance, and Bachelor of the Fine Arts from National Taiwan Normal University in vocal performance.

女高音

林孟君SopranoMeng-Chun Lin

2012/12/8

派松於拜魯特贏得第四屆（2003）華格納國際聲樂大賽首獎。2006年，魯伯特．克利斯提安森在倫敦《每日電訊報》讚譽「安娜列娜．派松詮釋出一位極其動人的伊索德。」派松近期演出包括在尼德蘭歌劇院首次擔綱演出莎樂美、布魯塞爾皇家鑄幣局歌劇院飾演《艾蕾克特拉》中的克莉索緹米絲、哥登堡歌劇院演出《唐．卡羅》中瓦洛亞王朝的伊莉莎白公主、西雅圖歌劇院演出伊索德、馬德里皇家歌劇院演出莎樂美等。在家鄉瑞典，她幾乎已經和所有主要的歌劇團隊和樂團合作過，也曾與阿胥肯納吉和雪梨交響管絃樂團、亞倫．吉伯特和斯德哥爾摩愛樂管絃樂團、杜達美和哥登堡交響管絃樂團及赫伯特．布隆斯泰德和芝加哥交響管絃樂團等合作演出。

Annalena Persson studied at the University College of Opera in Stockholm and graduated in June 2002. In 2003, she won the fourth international competition for Wagner voices in Bayreuth. In 2006 Rupert Christiansen wrote in the London Daily Telegraph, “Annalena Persson has the makings of a magnificent Isolde＂. Her recent opera productions include Salome for Netherlands Opera, Chrysothemis (Elektra) at La Monnaie, Brussels, Elisabeth de Valois (Don Carlos) for Gothenburg Opera, and Isolde for Seattle Opera and Salome for the Teatro Real in Madrid. In her native Sweden, Annalena has appeared with most of the major opera companies and orchestras. She has also sung with Vladimir Ashkenazy and the Sydney Symphony Orchestra, the Stockholm Philharmonic Orchestra and Alan Gilbert, the Gothenburg Symphony Orchestra and Gustavo Dudamel, the Chicago Symphony Orchestra with Herbert Blomstedt and with the London Symphony Orchestra at the Daytona Beach Festival, USA.

女高音

安娜列娜．派松sopranoAnnalena Persson

2012/12/31 & 2013/1/1



曾經榮獲葛萊美獎提名的次女高音維多利亞．利文顧德，在她璀璨的演出生涯當中，包括了在大都會歌劇院超過百場以上的演出。她所擔綱演出過的角色，包括了歌劇《卡門》、《莎樂美》、《命運之力》、《霍夫曼的故事》、《弄臣》、《蝙蝠》、《戰爭與和平》、《尤金．奧尼根》、《穆森斯克的馬克白夫人》、《女武神》、《莉西翠妲》、《伊底帕斯王》、《艾蕾克特拉》、《聯隊之花》等。維多利亞．利文顧德錄製過的作品，包括了里程碑唱片旗下發行梅諾第《領事館》，以及在納克索思唱片旗下，與倫敦交響樂團合作錄製並榮獲葛萊美獎提名的《榆樹下的慾望》。她亦於Albany唱片旗下發行過個人演唱專輯《穿透之眼》等。

Praised for “wonderfully sultry low passages＂ by the Washington Post. Career highlights for this Grammy-nominated artist have included over 100 appearances with the Metropolitan Opera - the opera of Carmen, Salome, La Forza del Destino, Les Contes D hoffmann, Rigoletto, Die Fledermaus, War and Peace, Eugene Onegin, Lady Macbeth of Mtsensk, Die Walküre, Lysistrata, Oedipus Rex, Elektra, La Señorita Cristina. Her discography includes Menotti s The Consul for Chandos, and Grammy-nominated Desire under the Elms with the London Symphony for Naxos. Solo releases include Piercing Eues for Albany Records.

次女高音

維多利亞．利文顧德mezzo-sopranoVictoria Livengood

2012/12/31 & 2013/1/1

2006年，黃莉錦以第一獎畢業於法國巴黎國立高級音樂院，於2008年獲得巴黎國立高級音樂院之演奏家文憑。2006至2007年間，她獲選為法國馬賽歌劇院歌劇工作室成員；2007及2008年，並成為奇美藝術獎學金的得主。黃莉錦曾獲得第十屆馬賽歌劇聲樂國際大賽評審獎、第四屆Jaume Aragall國際歌劇聲樂比賽第二名，並與l Orchestre Symponie del Vallém於巴塞隆納的音樂廳演出；2008年，她亦獲選為兩廳院樂壇新秀。2009年，黃莉錦成為瑞士伯恩歌劇工作室成員，並受邀於法國、瑞士與義大利的歌劇院演唱。

Huang graduated from Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), and the first prize (mention trés bien) in France in 2006 and the diploma of performance (Le cycle de perfectionnement) in 2008. Huang gained the Chi-Mei Artistic Scholarship in 2007 and 2008. She won the Prize of Jury in the 10th International Opera Singing Competition in Marseille, and the second prize in the IX Jaume Aragall International Singing Competition in Barcelona, Spain in 2008. As a professional singer, Huang was one of the under-studio members in Centre National Professionnelle d Artistes Lyriques (CNIPAL) in Opera House of Marseille in 2006-2007. Huang has performed in several opera houses in France, Switzerland, and Italy. Huang also sang with many renowned conductors such as Kurt Masur, Laurence Equilbey, Lucas Vis, Théodor Guschlbauer, André Bernard, Alain Altinoglu, Renée Jacobs, Nicolai De Figueredo, Sigiswald Kuijken, and Louis Langres.

女高音

黃莉錦sopranoLi-Chin Huang

2012/12/31 & 2013/1/1

石易巧曾獲台灣區音樂比賽女中音獨唱第一名、世華聲樂大賽優勝新秀獎、全世界華人聲樂大賽女子美聲組銀牌、2008永豐愛樂古典菁英獎聲樂組首獎及「NSO最佳潛力新人獎」。石易巧畢業於台南女子技術學院、東海大學音樂系以及國立台北藝術大學音樂研究所。獲德國國立特羅辛根音樂院藝術家演唱文憑，並持續攻讀獨奏家文憑，同時也在柏林 Hanns Eisler音樂院就讀室內樂藝術歌曲碩士班。參與演出的歌劇有《波佩亞的加冕》、《蝙蝠》、《女武神》、《頑童與魔咒》、《卡門》、《魔笛》、《狄多與安涅亞斯》、《茶花女》，神劇《保羅》以及《彌賽亞》。曾應邀至香港及日本沖繩藝術大學演唱。現為德國Pforzheim劇院獨唱歌手，自2012年樂季獲聘為德國Ulm劇院駐院歌手。

I-Chiao Shih received her Bachelor and Master degrees in vocal performance from Tunghai University and National Taipei University of the Arts. She also received Künstliche Ausbildung in Staatlichen Hochschule für Musik Trossingen in Germany. She is currently studying with Professor Monika Moldengauer for Konzertexam Ausbildung. In 2011 she started Kammenmusik Lieder Duo Master in Berlin Hanns Eisler with Wolfram Rieger. Shih has won many awards including 1st Prize for 2008 Young Artist Showcase Competition and the Prize of “the New Best Musician＂ for National Symphony Orchestra in 2008, Silver Award for Bel Canto of Chinese International Vocal Competition in New York in 2007, Honorable Mention Award for Mondial Chinese Vocalist Concours Taipei in 2003, and 1st Prize for Alto Solo of Taiwan Students Music Competition in 2002. Shih has been appointed as an ensemble member of the Theater Ulm since the 2012 season.

次女高音

石易巧mezzo-sopranoI-Chiao Shih

2012/12/31 & 2013/1/1



「一位具優越成就的聲樂家，兼具機智敏捷而自信。」《台北時報》（Taipei Times）的藝文評論曾如此讚譽巫白玉璽的演出。男中音巫白玉璽曾為多屆國內音樂比賽及台北市傳統藝術季民歌大賽首獎得主。1989 年獲選為國家戲劇院歌劇工作室成員，並隨導演Dr. Bernhard Hermich、Mr. Winfried Bauerfeind 及唱法指導Joseph Giardina、Herman Bauer、Frank Maus 等教授研習歌劇理論及舞台表演，並同時展開職業演唱工作。1996 年以幾近滿分取得義大利國立米蘭威爾第音樂院演唱文憑，回國後與國家交響樂團、台北市立交響樂團、台北市立國樂團、國立台灣交響樂團、台北愛樂交響樂團、高雄市立交響樂團、台北樂興之時管絃樂團等有多次合作經驗，多年來累積上百場次的演出。目前任教於實踐大學音樂系、國防大學應用藝術系及新店高中音樂班。

The impressive effect of his full, resounding voice and natural ease on stage have made Wu Bai-Yu-Hsi one of the most captivating performers in Taiwan. He graduated from the Milan National Academy of Music, Italy, in 1996. He received many invitations to perform while in Italy, and was received enthusiastically by Italian audiences. He was honored by the Opera Association of Bergamo with the award of “Best Opera Singer＂ in 1994. Wu has 25 years of experience performing both in Taiwan and around the world. He has performed with many well-known conductors, symphonies, and choruses.

男中音

巫白玉璽baritoneWu Bai-Yu-Hsi

2012/12/31 & 2013/1/1

林健吉為花蓮縣阿美族原住民，師從於西班牙籍女高音Luisa Maria Genovese，曾參與國內外歌劇製作《塞爾維亞的理髮師》、《指環》、《唐．喬望尼》、《魔笛》、《無人島》、《在阿爾及利亞的義大利女郎》、《玫瑰騎士》、《莎樂美》等十餘齣歌劇之主要角色。2011年間參與德國哈根市立歌劇院演出《杜蘭朵》歌劇音樂會，中華民國聲樂家協會「百年系列—歌劇選粹：《波希米亞人》」（演出魯道夫），兩廳院歌劇工作坊之馬斯奈歌劇《莎弗》，與指揮簡文彬/台南藝大術大學歌劇選粹《風流寡婦》，以及高雄春天藝術季與法國默劇大師Phlilippe Bizot及對位室內樂團共同演出。畢業於東海音樂研究所，曾於東華大學教授聲樂法文語韻，曾獲中華民國聲樂家協會第一屆年度新秀。

Claude Lin is an indigenous from Amis in Hualien, Taiwan, during his time in Europe, studied with Spanish soprano Luisa Maria Genovese. In 2000, he made his opera debut as Count Almaviva of Il Barbiere di silvigila with the National Taiwan Symphony Orchestra. Since then he has been seen in many opera productions in both Taiwan and Germany, including the Ring cycle, Don Giovanni, The Magic Flute, L’isola disabitata -Gernando, L’italiana in Algeri-Lindoro, Rosenkavalier, and Salome. In addition to opera, Lin also sings in many symphonies including Beethoven s Ninth symphony, Samuel Adler s Oratorio Choose life, Mendelssohn s Elijah, Mozart s Requiem. Lin was named the Special Prize Hans Gabor Belvedere singing competition in Wien 2005, the finalist in New voice at Yokosuka, the 19th and 20th Chi-Mei Arts Award, the new-artist award association of vocal artists of R.O.C. 2000.

男高音

林健吉tenorClaude Lin

2012/12/31 & 2013/1/1 2013/5/31

美國男高音馬克．海勒多次在大都會歌劇院演出，與多明哥、安娜．聶翠柯，以及阿藍尼亞演出對手戲；在譚盾《秦始皇》以及《羅密歐與茱麗葉》的全球廣播、衛星與電影同步轉播，海勒也參與演出，並定期在全球重複播放。海勒在世界各地演出歌劇與音樂會。近期值得注意的是，他在倫敦的皇家阿爾伯特音樂廳，將參與全新製作的威爾第《阿伊達》，演出埃及軍官拉達梅斯一角，極獲好評。至於錄製唱片方面，海勒曾在多張全球發行的專輯中擔任主角或獨唱，近期錄音演出約翰．亞當斯的歌劇《尼克森在中國》之毛澤東一角，這張Naxos唱片公司發行之錄音獲得葛萊美獎提名。

American Tenor Marc Heller has appeared several times at the Metropolitan Opera, opposite Placido Domingo, Anna Netrebko, and Roberto Alagna, in worldwide Radio, Satellite and Cinematic simulcasts of performances of Tan Dun s The First Emperor and of Romeo et Juliette, re-broadcast regularly internationally. Mr. Heller has sung operas and concerts all over the world. Recently of note, he appeared as Radames in Verdi s Aida in a brand new production at the Royal Albert Hall in London to great critical acclaim. As a recording artist, Mr. Heller has appeared as principal or solo artist on several internationally distributed albums, the latest of which is as Chairman Mao in John Adams Nixon in China, available on Naxos, only the second recording ever done of the opera, Grammy nominated for its production.

男高音

馬克．海勒tenorMarc Heller

2012/12/31 &2103/1/1



艾瑟羅德現為法國羅亞爾省國立管絃樂團音樂總監；2011/12樂季開始，米蘭威爾第交響亦聘請他為首席指揮。指揮過的樂團包括柏林廣播交響、漢堡交響、萊比錫布商大廈管絃、德勒斯登愛樂、巴黎管絃、國立里昂管絃、英國皇家愛樂、斯德哥爾摩皇家愛樂、丹麥國家交響、奧斯陸愛樂、瑞典廣播管絃、里斯本交響、維也納廣播交響、華沙室內樂團、美國國家交響、洛杉磯愛樂、費城管絃、芝加哥交響、NHK 交響、京都交響、上海交響等樂團。艾瑟羅德曾接受伯恩斯坦的指揮訓練，1988年從哈佛大學畢業；1996年赴俄國聖彼得堡音樂院進修，跟隨俄國指揮教父穆辛研習。

With an extraordinarily diverse repertoire, innovative programming and charismatic performance style, John Axelrod continues to increase his profile as one of today s leading conductors, and is sought after by orchestras throughout the world. After a successful five-year tenure as Music Director and Chief Conductor of the Lucerne Symphony Orchestra and Theater, and the election as Music Director of the l Orchestre National des Pays de la Loire (ONPL), based in Nantes and Angers with more than 10,000 subscribers, in April 2011 John Axelrod was appointed Principal Conductor of Orchestra Sinfonica di Milano “G.Verdi＂, beginning with the 2011-2012 season for a minimum three-year commitment. Since 2000, John Axelrod has conducted over 130 orchestras, most of which include multiple repeat engagements, emphasizing both his success and European credibility in the core classical repertoire. Such prestigious orchestras include Leipzig Gewandhaus Orchestra, Dresdner Philharmonic, Orchestre de Paris, London Philharmonia Orchestra, Salzburg Mozarteum, and Sinfonia Varsovia, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony and NHK Symphony Orchestra Tokyo among many others.

指揮

約翰．艾瑟羅德conductorJohn Axelrod

2013/1/13

史岱費爾德出生於1980年，13歲就讀於法蘭克福音樂院，拜在名師納托錢尼門下。2002年時成為首位拿下萊比錫國際巴赫大賽冠軍的德國鋼琴家，中斷了大賽首獎從缺14年的紀錄。除了在歐洲各個重要音樂廳巡迴演奏，史岱費爾德曾與慕尼黑愛樂、倫敦皇家愛樂、新日本愛樂、薩爾茲堡室內樂團、海牙愛樂、德勒斯登國家管絃等樂團合作演出。史岱費爾德的錄音由索尼古典發行，2003年發行的首張專輯為巴赫的《郭德堡變奏曲》，立即在德國古典音樂排行榜竄升至第一名的位置。2004年10月，史岱費爾德被《古典回聲》授予古典專輯之「年度青年藝術家」獎項。2005年獲頒《古典回聲》之「年度獨奏錄音」獎；2007年「最佳協奏曲錄音」獎；2008年，他的舒伯特奏鳴曲獲《古典回聲》「最佳 19世紀作品錄音」獎項。

Stadtfeld (b. 1980) was only 13 when he enrolled at the Musikhochschule Frankfurt to study with Lev Natochenny. He created a stir in 2002 when he became the first German pianist to win the International Bach Competition in Leipzig. First prize in this prestigious contest, which had not been awarded for 14 years, opened the doors to the leading Bach festivals (Ansbach, Stuttgart, Köthen) for the young artist, as well as to other important music festivals. He has played in orchestral concerts together with the Munich Philharmonic, London s Royal Philharmonic Orchestra, Camerata Salzburg, the Salzburg Mozarteum Orchester and the Dresden Staatskapelle. Martin Stadtfeld records exclusively for Sony Classical. His début CD with Bach s Goldberg Variations was released in 2003 to effusive praise from the critics. In October 2004 Martin Stadtfeld was awarded the “Echo Klassik＂ prize for this CD as “Young artist of the year＂, and in 2005, another “Echo Klassik＂ prize for the “Solo recording of the year＂.

鋼琴

馬丁．史岱費爾德pianoMartin Stadtfeld

2013/1/13

白建宇是美國納姆伯格（Naumburg）獎得主、也是布梭尼鋼琴大賽金牌。他幾乎已與世界上所有重要樂團合作過，也是首位獲中國政府正式邀請演出的韓國音樂家。白建宇的曲目廣泛，由巴赫到史托克豪森、布梭尼到斯克里亞賓、李斯特到梅湘，幾乎無所不能。白建宇灌錄的普羅科菲夫全套鋼琴協奏曲的錄音獲得1993年度法國「金音叉獎」及Nouvelle Academie du disque獎；曾為2000年的「巴赫年」錄製布梭尼改編巴赫管風琴曲，他的佛瑞鋼琴作品集並席捲法國所有唱片獎項。白建宇現擔任法國迪拿的「翡翠海岸音樂節」藝術總監，2000年法國政府頒授「藝術及文學部級騎士勳章」殊榮。

Kun-Woo Paik is considered one of the most important pianists of his generation. He is the winner of the Naumburg and Gold Medallist at the Busoni International Piano Competitions. Paik has performed with the most important orchestras all over the world. He was the first Korean artist to be officially invited by the Chinese government. His repertoire is extensive from Bach to Stockhausen, from Busoni to Scriabin, from Liszt to Messiaen. His complete Prokofiev Piano Concerto recording received both the “Diapason d or＂ of the year in 1993 and “Nouvelle Academie du disque＂ Award in France. As an exclusive Decca artist, to celebrate J.S Bach s year in 2000, he recorded Busoni s Transcriptions of Bach s organ works followed by an album of Fauré s Piano works, which won all the major prizes in France. Kun Woo Paik lives in Paris, and is the Artistic Director of the Emerald Coast Music Festival in Dinard, France. He was made the “Chevalier de l ordre des arts et des lettres＂ by the French Government in 2000.

鋼琴

白建宇pianoKun-Woo Paik

2013/2/28



關琦安現為美國哈特福交響樂團的第十任音樂總監。近期來自美國的演出邀約包括巴爾的摩、舊金山、底特律、西雅圖、密爾瓦基、北卡羅來納、佛羅里達、路易斯維爾管絃樂團，及紐約市立芭蕾、紐約市立歌劇院等；國際間的邀約則有英國波恩茅斯交響、瑞士羅曼德交響、香港愛樂和墨西哥猶加敦交響等樂團。畢業於美國史密斯學院，擁有伊利諾大學音樂碩士及琵琶蒂音樂院演奏文憑，是卡拉揚指揮獎學金首位女性得主，曾任西雅圖交響樂團副指揮，紐約市立芭蕾舞團駐團藝術家，巴爾的摩歌劇院助理指揮等職務。展望關琦安本樂季最新的演出動態，除了指揮哈特福交響樂團的新樂季節目之外，還將首次指揮海牙愛樂、丹麥皇家管絃及國家交響樂團。關琦安指揮紐西蘭交響樂團的錄音將於2012年1月由Naxos唱片發行。

Carolyn Kuan is increasingly recognized as one of the most exciting, innovative and outstanding conductors of her generation. Newly appointed the 10th Music Director of the Hartford Symphony Orchestra, Ms. Kuan s recent North America engagements have included concerts with the Baltimore, San Francisco, Detroit, Seattle, Milwaukee, North Carolina, and Toledo symphonies; the Florida and Louisville orchestras; the New York City Ballet; and the New York City Opera. Recent international engagements have included concerts with the Bournemouth Symphony, Orchestre de la Suisse Romande, Hong Kong Philharmonic, and Orquesta Sinfónica de Yucatán. In her debut album to be released in January 2012, Ms. Kuan conducts the New Zealand Symphony Orchestra for the Naxos label.

指揮

關琦安conductorCarolyn Kuan

2013/4/13

梅耶出生於德國中部，曾於斯圖加特和漢諾威習樂，分別師事赫曼和戴因策。畢業後曾在巴伐利亞廣播交響樂團工作，之後放棄柏林愛樂的工作合約，轉入單簧管獨奏領域。歷經近30年的積累和努力，她已成為世界各大音樂舞台與頂尖樂團演奏邀約的主要對象，倫敦、維也納、柏林愛樂、芝加哥交響樂團等都列名其內。又因她個人特別偏愛室內樂曲，她曾經成立室內樂團體（1983 & 1988），投注心力在室內樂演出和EMI唱片錄音，並因此獲獎無數，亦獲布拉姆斯協會獎（2001）以及八次德國《古典回聲》大獎肯定，最近更獲得法國政府頒發藝文騎士勳章（2010）。除了多次擔任現代作曲家單簧管作品首演外，她近年在跨界爵士樂演奏方面也多有涉獵。1993年成為呂貝克音樂院教授至今。

Sabine Meyer is one of the world s most renowned instrumental soloists. Born in Crailsheim, Germany, she studied with Otto Hermann in Stuttgart and Hans Deinzer in Hanover, then embarked on a career as an orchestral musician and became member of the Bavarian Radio Symphony Orchestra. For almost a quarter of a century, numerous concerts and broadcast engagements led her to all musical centers of Europe as well as to Brazil, Israel, Canada, Africa and Australia, and, for twenty years, equally regularly to Japan and the USA. Meyer has given guest performances with all the top-level orchestras in Germany and has been engaged by the world s leading orchestras such as the Vienna Philharmonic, the Chicago Symphony Orchestra, the London Philharmonic Orchestra, the NHK Symphony Orchestra Tokyo, the Berlin Philharmonic Orchestra as well as numerous additional ensembles. Sabine Meyer has been appointed to a professorship at the Hochschule für Musik in Lübeck since 1993.

單簧管

莎賓．梅耶clarinetSabine Meyer

2013/3/24

巴佛傑畢業於巴黎音樂學院，師事桑康，後追隨艾爾德門與巴許基洛夫。1995年與指揮大師蕭堤爵士相識，同時首次與巴黎管絃樂團合作演出。1986年在科隆奪得國際貝多芬大賽首獎，並於范克萊本國際鋼琴大賽中獲得葛魯泰室內樂獎。巴佛傑為目前國際樂壇聲譽卓著的重要鋼琴家之一，演奏風格雅致，音樂涵養深厚，演奏曲目涵蓋了海頓、貝多芬、巴爾托克、普羅科菲夫，以及曼托凡尼與維德曼等當代作曲家作品。巴佛傑灌製過為數眾多的唱片，他所錄製的海頓作品，被《世界音樂雜誌》選為「150張史上最佳鋼琴演奏唱片」之一。巴佛傑目前為Chandos旗下音樂家，他與指揮托特里耶及BBC交響樂團錄製的德布西與拉威爾作品專輯，榮獲2011《留聲機》大賞。

French pianist Jean-Efflam Bavouzet was introduced to Sir Georg Solti in 1995, who invited him to give his debut with the Orchestre de Paris; Bavouzet is considered as the Maestro s last discovery. In 1986 Bavouzet took the first prize in the International Beethoven Competition in Cologne. He has also been awarded the Steven de Groote Chamber Music Prize at the Van Cliburn Competition, and is a Professor for Life in the Piano Department of the Hochschule für Musik in Detmold, Germany. Bavouzet combines a rare elegance and clarity in his playing with a deep and thoughtful musicality. His insatiable enthusiasm and artistic curiosity has led him to explore a repertoire ranging from Haydn, Beethoven, Bartok and Prokofiev to contemporary works by composers such as Bruno Mantovani and Jörg Widmann. Jean-Efflam Bavouzet received a Gramophone Award in 2011 for his recording of works by Debussy and Ravel (with the BBC Symphony Orchestra and Yan Pascal Tortelier).

鋼琴

尚-艾弗藍．巴佛傑pianoJean-Efflam Bavouzet

2013/3/16 & 17



嘉碧妲2004年在葛濟夫指揮下與維也納愛樂首度合作，立即引起國際樂壇矚目。出生於阿根廷哥多華，嘉碧妲10歲時即在比賽中脫穎而出，之後在顧德曼大提琴比賽、柴科夫斯基大賽及慕尼黑大賽中連續奪獎。她是史上最年輕的Aargau獎（瑞士最重要的藝術大獎）得主，也是阿根廷KONEX 獎得主；2010年獲選為《留聲機》雜誌之年度新秀。近期，她的艾爾加大提琴協奏曲獲得《古典回聲》大獎，與慕尼黑愛樂灌錄的蕭斯塔科維契第二號大提琴協奏曲也博得樂界極高讚譽。嘉碧妲與世界各地的指揮和樂團合作，如：伯明罕市交、英國皇家愛樂、法國國家廣播、捷克愛樂、俄國國家管絃、費城交響、底特律交響、首爾愛樂等。2005年起任教於瑞士的巴賽爾音樂院。嘉碧妲目前使用拉恩文化基金會提供的1759年G.B. 瓜達尼尼大提琴。

Internationally acclaimed since her 2004 debut with the Wiener Philharmoniker and Valery Gergiev and winner of the Crédit Suisse Young Artist Award, cellist Sol Gabetta already holds several impressive awards. Born in Cordoba, Argentina, she won her first competition at the age of ten. This was soon followed by the Natalia Gutman Award and commendations at the Moscow Tchaikovsky Competition as well as the ARD International Music Competition in Munich. A Grammy Award nominee, Sol Gabetta became the youngest award winner of the Aargau Kulturpreis in 2008, one of the most important arts prizes in Switzerland. She has also been awarded Argentina s KONEX prize and, in 2010, received the renowned Gramophone Young Artist of the Year Award. Sol Gabetta plays one of the very rare and precious cellos by G.B. Guadagnini from 1759. She has taught at the Basel Music Academy since 2005.

大提琴

修兒．嘉碧妲celloSol Gabetta

2013/4/13

曾獲葛萊美獎提名的曼陀林音樂家艾維．艾維塔，被《紐約時報》讚許為「獨特而敏銳的演奏」，他是全球最令人期待、最具冒險精神的年輕音樂家之一。他透過技巧卓越的演奏與令人期待的新曲目，致力於為曼陀林建立嶄新的傳統。曾以獨奏家的身分與以色列愛樂、舊金山室內樂團，以及柏林交響樂團合作，並與羅斯托波維奇、賽門．拉圖爵士、菲利浦．安特蒙等指揮家同台演出。艾維塔曾應邀到美國坦格塢、瑞士琉森、義大利斯波萊托與拉文納夏日音樂節演出。艾維．艾維塔獲獎無數，包括2008年與大衛歐洛夫斯基三重奏的錄音獲得德國的《古典回聲》大獎，還有以色列獨奏家最重要的全競賽－阿維夫比賽。艾維．艾維塔畢業於耶路撒冷音樂學院與義大利帕多瓦音樂學院。

Praised by The New York Times for his “Exquisitely sensitive playing＂, Grammy nominee mandolinist Avi Avital has been recognized as one of the world s most exciting musical entrepreneurs. Avi Avital has performed widely in Israel, Europe, the US, South Africa and Asia in venues including Carnegie Hall and Lincoln Center in New York, Berlin Philharmonie Hall and Wigmore Hall in London. He has played as soloist with leading orchestras across the globe, including the Israeli Philharmonic Orchestra, National Symphony Orchestra of Latvia and the Berliner Symphoniker, collaborating with prominent musicians including Sir Simon Rattle, Dawn Upshaw, Giora Feidman, Frank London and others.

曼陀林

艾維．艾維塔mandolinAvi Avital

2013/4/19

尚恩．夏那漢將他從世界各地學來的擊鼓傳統，結合他在爵士、搖滾與西方藝術音樂的背景，培養出他獨特又大受好評的風格。從2000年開始，尚恩．夏那漢與馬友友組成曾獲葛萊美獎提名的「絲綢之路」樂團，而其中兩張專輯也展現了他的編曲技巧。他的編曲讓北美、歐洲與亞洲的音樂會觀眾為之瘋狂、欲罷不能。馬友友的節慶專輯DVD《喜悅與和平之歌》也可以欣賞到他的演奏，而這張專輯後來獲得葛萊美獎。尚恩．夏那漢參加過北美、歐洲與亞洲的電視與廣播節目，包括《大衛賴特曼》、《柯伯報告》，以及《早安美國》。他曾在世界各地大學授課，包括普林斯頓、哈佛與紐約大學。他擁有伊士曼音樂學院學士以及哈特音樂碩士學位。

Since 2000, Shane Shanahan has been touring around the globe performing with Yo-Yo Ma as an original member of Grammy-Nominated Silk Road Ensemble. He can also be heard and seen on Mr. Ma s Grammy Award winning holiday CD/DVD release, “Songs of Joy And Peace.＂ He has performed and/or recorded with Philip Glass, Alison Krauss, Deep Purple, Jordi Savall, Sonny Fortune, Fantasia, Chaka Khan, and Glen Velez, among others. He was also one of two featured musicians in Sam Medes 2010 Bridge Project. He has taught and presented workshop at universities around the world including Princeton, Harvard, and NYU. He received his Bachelor s Degree from the Eastman School of Music and his Master s Degree from The Hartt School.

打擊樂

尚恩．夏那漢percussionShane Shanahan

2013/4/19



賀普於英國皇家音樂院師事俄國著名小提琴教育家布隆，為有史以來最年輕的美藝三重奏成員。倫敦《觀察家》周報稱為「自杜普蕾之後，最令人激動的英國絃樂演奏家」。賀普為DG唱片的簽約藝術家，獲得無數次葛萊美獎提名，也贏得英國古典音樂BRIT大獎以及五座《古典回聲》音樂獎項。賀普經常以獨奏家的身分指揮室內樂團演出，也經常參與世界各地著名的音樂節。他跟波士頓、芝加哥、多倫多、亞特蘭大、底特律、達拉斯、柏林、伯明罕、德勒斯登、倫敦、以色列、莫斯科、奧斯陸、巴黎等地的交響樂團一起合作。賀普為美國薩瓦那音樂節的副音樂總監，德國梅克倫堡夏日藝術節的藝術總監，他也是三本暢銷書的作者。

British violinist Daniel Hope has toured the world as a virtuoso soloist for more than twenty years, and as the youngest ever member of the Beaux Arts Trio during its last six seasons. He is renowned for his musical versatility and creativity and for his dedication to humanitarian causes. Hope performs as soloist with the world s major orchestras and conductors, directs many ensembles from the violin, and plays chamber music in a wide variety of traditional and new venues. Raised and educated in England, Hope earned degrees at the Royal Academy of Music, where he studied with renowned Russian pedagogue Zakhar Bron. London s Observer called Hope “the most exciting British string player since Jacqueline du Pré,＂ and recent New York Times reviews summarized his unique attributes: “... a violinist of probing intellect and commanding style… In a business that likes tidy boxes drawn around its commodities, the British violinist Daniel Hope resists categorization.＂

小提琴

丹尼爾．賀普violinDaniel Hope

2013/5/17 & 18

拉貝克姊妹由母親啟蒙學習鋼琴，1968年自巴黎音樂院畢業後就搭檔演出，在鋼琴重奏領域中成為國際樂壇最炙手可熱的組合。她們不斷超越自我，曲目從古樂到爵士，從巴洛克到貝里歐，無所不包，更積極催生大量創作／改編曲目供鋼琴重奏演出，大幅拓展鋼琴重奏的表現可能，是有史以來演奏最精湛、影響力最巨大的鋼琴重奏演奏家。拉貝克姐妹以精湛的技巧和無所比擬的默契聞名樂壇，和全世界著名樂團（如柏林愛樂、維也納愛樂、倫敦交響、巴伐利亞廣播、萊比錫布商大廈、史卡拉愛樂與美國五大樂團）與諸多頂尖指揮（如拉圖、沙羅年、柯林．戴維斯、畢契可夫等）皆定期合作。除了演奏與錄音，她們更成立拉貝克基金會（The KML Foundation），為鋼琴重奏曲目以及音樂教育持續貢獻。她們最新計畫是「低限主義之夢想屋」，也歡迎愛樂者造訪她們的網站

www.labeque.com。

Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Daughters of Ada Cecchi (who was, herself, a pupil of Marguerite Long), Katia and Marielle had a childhood filled with music. They are regular guests with the most prestigious orchestras such as the Berlin Philharmonic, Bayerischer Rundfunk, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Leipzig Gewandhaus, London Symphony, London Philharmonic, Los Angeles Philharmonic, Dresden Staatskapelle and Vienna Philharmonic. They launched the KML Foundation (www.fondazionekml.com) aimed at furthering research and developing awareness of the duo piano repertory through meetings between artists of all fields. The Labèques created KML Recordings to reflect their aspiration to build a bridge crossing all aspects of contemporary creation.

鋼琴

拉貝克姊妹pianoKatia & Marielle Labèque

2013/4/27 & 28

阿雷席夫為聖彼得堡愛樂管絃樂團終生指揮，於1982年贏得卡拉揚指揮大賽首獎而開啟了他在歐洲各主要音樂廳指揮的大門。他對俄國音樂界的貢獻，獲得俄羅斯政府封為「人民的藝術家」。他於2001-2010年擔任愛沙尼亞國家交響樂團藝術總監，並獲頒愛沙尼亞國家獎章，以表彰他於任期間的藝術成就。此外，亦與聖彼得堡愛樂管絃樂團巡迴至美國、德國、以及法國等地的知名音樂廳。除了與俄國頂尖樂團合作演出外，阿雷席夫也曾與阿姆斯特丹皇家大會堂管絃樂團、鹿特丹愛樂管絃樂團、德勒斯登愛樂管絃樂團、斯圖加特愛樂管絃樂團、哥本哈根愛樂管絃樂團、柏林交響樂團、巴爾的摩交響樂團、利物浦皇家愛樂管絃樂團、BBC蘇格蘭交響樂團、新日本愛樂管絃樂團等合作演出。

Nikolai Alexeev is the permanent conductor of the St. Petersburg Philharmonic Orchestra, position succeed from Mariss Jansons. After winning the first prize on Herbert von Karajan Competition in Berlin (1982) he has been a very demanded conductor in many countries with many prominent orchestras. For his fruitful work and touching music-making Nikolai Alexeev has been given a title of People s Artist of the Russian Federation. For his work as the Music Director of the Estonian National Symphony Orchestra (2001-2010), he was awarded the State Prize of the Republic of Estonia for bringing Estonia s most prominent orchestra to a completely new level. Besides working with the top Russian orchestras Nikolai Alexeev has conducted Royal Concertgebouw Orchestra, Rotterdam, Dresden, Stuttgart and Copenhagen Philharmonic Orchestras, Berlin, Göteborg and Baltimore Symphony Orchestras, Liverpool Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, New Japan Philharmonic and many others.

指揮

尼可萊．阿雷席夫conductorNikolai Alexeev

2013/4/27 & 28



曾被歐洲媒體譽為「中國的奇蹟」的鋼琴家陳必先，9歲時成為台灣第一位以音樂天才兒童身分赴德國科隆深造。21歲時獲得慕尼黑ARD聯合廣播公司國際比賽首獎，1972年參加布魯塞爾的伊莉莎白大賽得獎，之後又陸續獲得鹿特丹的「國際荀白克大賽」與美國首府華盛頓的「國際巴赫大賽」等國際大賽首獎。陳必先近年積極投入室內樂演出以及研究推廣現代音樂，並與許多現代音樂作曲家共同合作，如：布列茲、史托克豪森、庫爾塔格等。曾任德國國立科隆音樂學院鋼琴教授，自2004年起轉任德國弗萊堡音樂院教授，2003年起亦擔任國立交通大學音樂研究所客座教授。她演奏的巴赫作品被《波士頓環球報》（Boston Globe）樂評讚譽為「陳必先偉大地創造了巴赫」。

Pi-Hsien Chen was born in Taiwan in 1950. At the early age of five, she gave her first public performance. At the age of nine, she was sent to Germany to continue her studies at the Musikhochschule in Cologne with Hans-Otto Schmidt-Neuhaus and later with Hans Leygraf, Wilhelm Kempff, Tatjana Nikoiajewa and Geza Anda. In 1972 she won international appreciation with a prize at the Concours Reine Elisabeth and the first prize in the competition of the Rundfunkanstalten in Munich. Since then she has given performances at important places such as London, Amsterdam, Zurich, Berlin, Munich and Tokyo as well as at the Festivals of Lucerne. Pi-Hsien Chen has played with famous orchestras and conductors, such as the London Symphony Orchestra, the BBC Symphony Orchestra, the Concertgebouw Orchestra and the Collegium Musicum Zurich, appearing with conductors Haitink, Davis, Martinon, Leitner, Neumann, Klee, Rieger, Janowski, lnbai, Sacher, de Stoutz, Bour, Stein, Eotvos and Foster.

鋼琴

陳必先pianoPi-Hsien Chen

2013/5/31

越南裔鋼琴家鄧泰山，是史上首位奪得國際蕭邦鋼琴大賽首獎的亞裔鋼琴家。生長在河內，由母親啟蒙學習鋼琴，1974年被蘇聯鋼琴家卡茲發掘，說服他離開北越，到莫斯科的柴科夫斯基音樂院跟隨納坦森及巴許基洛夫兩位名師深造。足跡遍及全球四十幾個國家。鄧泰山合作的樂團皆為一時之選，如 BBC愛樂、德勒斯登愛樂、奧斯陸愛樂、華沙國家愛樂、布拉格交響、NHK交響、雪梨交響、赫爾辛基交響、莫斯科愛樂以及其他著名室內樂團體。合作的指揮有馬利納爵士、祖克曼、楊頌斯、伊凡．費雪、史畢瓦科夫等人。鄧泰山的鋼琴錄音眾多，2009年10月甫發行了蕭邦馬祖卡舞曲全集，並擔任許多國際鋼琴大賽的評審（如克里夫蘭、蕭邦、魯賓斯坦等大賽）；近期獲得波蘭比得哥什音樂院授予榮譽博士學位，目前任教於加拿大蒙特婁大學。

Vietnamese pianist Dang Thai Son was propelled to the forefront of the musical world in October 1980, when he was awarded the First Prize and Gold Medal at the 10th International Chopin Piano Competition in Warsaw. He began piano studies with his mother in Hanoi. Discovered by the Russian pianist Isaac Katz, who was on visit in Vietnam in 1974. He pursued his advanced training at the Moscow State Tchaikovsky Conservatory in Russia with Vladimir Natanson and Dmitry Bashkirov. Since winning the Chopin Competition, his international career has taken him to over forty countries and has played with numerous world-class orchestras such as Dresden Philharmonic, Staatskapelle Berlin, Baden-Baden Symphony Orchestra, Warsaw National Philharmonic, Prague Symphony, NHK Symphony, Helsinki Philharmonic, Sydney Symphony, and many others. Dang Thai Son has recently received the “Doctor Honoris Causa＂ from the Music Academy in Bydgoczsz, Poland.

鋼琴

鄧泰山pianoDang Thai Son

2013/6/7

由費雪迪斯考和萊曼等大師親炙調教，德國與希臘混血的杜費克斯具備優越語言和演唱詮釋能力，在歌劇、藝術歌曲和音樂會曲目表現精湛，並成為揚名國際樂壇的次女高音。曾與海汀克、梅塔、肯特長野、馬殊、畢契柯夫等多位著名指揮合作，古樂領域則涵蓋霍格伍德、瑞霖諸位大師。她擅長的曲目既多且廣，從巴洛克古樂到現代音樂無所不包，讓她名列國際歌劇舞臺和各大音樂節邀演的首選名單，莫札特筆下的凱魯比諾、朵拉貝拉都是她擅長的角色。近期樂季（2011-12）演唱的歌劇曲目包括比才的《卡門》、韓德爾的《塞爾瑟斯》、理查．史特勞斯《玫瑰騎士》的奧塔維安等，其他音樂會曲目則包括斯圖加特愛樂演出雷斯匹基的大型管絃組曲《希芭女王》以及法國管絃歌曲的演唱錄音等。

The German-Greek mezzo-soprano Stella Doufexis is one of the most sought-after singers in her field, both on the operatic stage and on the concert podium. She has given guest performances with renowned German orchestras as well as the BBC Symphony Orchestra, Israel Philharmonic Orchestra, Orchestre de Paris, London Symphony Orchestra and Mahler Chamber Orchestra, amongst others. This has given her the opportunity to work with famous conductors such as Bernard Haitink, Zubin Mehta, Semyon Bychkov, Kent Nagano, Kurt Masur, Roger Norrington, Christopher Hogwood, Ingo Metzmacher, Ivor Bolton, Helmuth Rilling, Jukka-Pekka Saraste, Christoph Eschenbach and Gustavo Dudamel. Doufexis has given guest performances at many opera houses including Deutsche Staatsoper Berlin, Scottish Opera, Gran Teatro del Liceu in Barcelona, Gran Théatre de Genève and the Bavarian State Opera Munich. The CD recording of Brahms Liebesliederwalzer released by Harmonia mundi France was awarded the prestigious Diapason dOr.

次女高音

絲黛拉．杜費克斯sopranoStella Doufexis

2013/6/14 & 15



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

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

男高音

沃夫崗．史瓦寧格tenorWolfgang Schwaninger

2013/7/10,12,14

畢業於奧地利格拉茲音樂暨表演藝術大學（MA＆MFA），現任職國立中山大學劇藝系專任副教授，致力於藝術創作與推廣，長期在國內外劇院從事舞台、燈光及服裝設計。其設計作品包括：《莎樂美》、《弄臣》、《丑角》、《鄉村騎士》、《波希米亞人》、《微笑之國》、《奧菲歐與尤里迪切》、《阿伊達》、《奧賽羅》、《杜蘭朵》、《頑童驚夢》、《鄭成功》、《韓賽兒與葛蕾特》、《飛行的荷蘭人》、《迪朵與安涅斯》、《卡門》……等，演出地點如：德國

Dortmund、Giessen與Erfurt歌劇院，新加坡大劇院與台北國家戲劇院等。2009年，更導演及翻譯劇本，亞洲首演歌劇教育劇場《女巫希拉蕊進歌劇院》。蔡秀錦深諳音樂、戲劇與美學，並具豐富的國內外劇場實務經驗，同時亦擔任國內新建劇場的空間規劃及演出設備之評審委員與顧問。

Tsai received her MA&MFA from the University of Music and Performing Arts Graz in Austria. Currently Associate Professor at the Theatre Arts Department of the National Sun Yat-Sen University, she has devoted to art creating and promoting as well as stage designing, lighting and custom designing in and out of Taiwan. Her design works include Salome, Rigoletto, Pagliacci, Cavalleria Rusticana, La Bohème, Das Land des Lächelns, Orfeo ed Euridice, Aida, Othello, Turandot, L’Enfant et les Sortileges, Koxinga, Hansel und Gretel, The Flying Dutchman, Dido & Aeneas and Carmen at opera houses in Dortmund, Giessen, Erfurt, Singapore and the National Theater in Taipei. In 2009, she directed, translated the script of, and premiered Hexe Hillary geht in die Oper in Asia. With profound expertise in music, theater and aesthetic as well as rich experience in theater, she often serves as jury member and consultant for space planning and performance facilities of new theaters in Taiwan.

舞台設計

蔡秀錦set designHsiu-Chin Tsai

2013/7/10,12,14

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

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

導演

漢斯-彼得．雷曼directorHans-Peter Lehmann

2013/7/10,12,14



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

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

女高音

依姆嘉德．費絲麥爾sopranoIrmgard Vilsmaier

2013/7/10,12,14

裴倫茨為捷克裔男中音，雙親皆為聲樂家，自小對歌劇藝術耳濡目染。就讀巴爾托克音樂院，原本主修小提琴和中提琴，畢業後旋即前往布達佩斯李斯特音樂學會轉攻歌劇演唱，後成為維也納國家歌劇院歌劇工作室成員。他聲樂演唱主要師承來自義大利男中音巴蒂斯提尼（M. Battistini）的美聲學派，以義大利歌劇男中音詮釋見長，拿手劇目包括威爾第歌劇《弄臣》主角、《茶花女》傑蒙伯爵、《馬克白》伊亞哥、浦契尼《托斯卡》史卡皮亞等；他卓越的演唱能力還延伸到德語歌劇重量級角色，如《尼貝龍指環》佛旦、《名歌手》薩克斯、《莎樂美》的施洗約翰、《艾蕾克特拉》奧瑞斯特等。近二年逐漸將重心放在布達佩斯國家歌劇院，並受邀演出捷克作曲家如高大宜《哈利．雅諾斯》等歌劇作品。

Béla Perencz was influenced by classical music since his early childhood. As son of two opera singers he received a musical education in his early childhood, followed by studying violin and viola at the Bartok Béla Conservatory. After graduating from the conservatory he studied opera singing at the Liszt Ferenc Music Academy in Budapest, as well as in Dresden where he received a one year stipendium. He then became a member of the opera studio at the State Opera of Vienna. Béla Perencz was educated by several representatives of the pre-war era and the “Battistini Belcanto School＂ like Magdalena Maroti, Nicola Sabo and Marta Lantieri. Furthermore he was tutored by great artist in the Wagner tradition like Rosette Tutschek and Ernst Hermann. In the 2011/12 season he sang Walküre/Wotan in Great Britain and Mandryka/Arabella in the Budapest National Opera s new premiere. Béla Perencz worked together with such outstanding conductors as Mo. Giuseppe Patane, Horst Stein, Lorin Maazel, Claudio Abbado and Tomomi Nishimoto.

男中音

貝拉．裴倫茨baritoneBéla Perencz

2013/7/10,12,14

出生於南非，艾希．凡魏於史德蘭博胥大學學習鋼琴、管風琴以及大鍵琴。完成學業後在南非德本、開普敦以及比勒陀利亞的歌劇院中擔任駐院鋼琴伴奏暨聲樂指導。1995年首次於德國威斯巴登國家歌劇院參與歌劇《崔斯坦與伊索德》的製作；自1995至2009年，凡魏任聘於漢諾威國家歌劇院，並為導演漢斯-彼得．雷曼的華格納歌劇製作《尼貝龍指環》、《羅恩格林》、《紐倫堡名歌手》擔任聲樂指導。自2007至2009年，凡魏在漢諾威國家劇院裡創立了「凡魏的華格納工作坊」，其音樂會大受當地聽眾喜愛。一年後，她於法蘭克福首次登台，演唱「凡魏的華格納」系列獨唱會，同年並參與NSO歌劇音樂會《艾蕾克特拉》之製作。

Born in South Africa, Ansi Verwey commenced her studies of the piano, organ and harpsichord at the University of Stellenhosch. After the completion of her studies, she was appointed as repetiteur and vocal coach at the Durban Opera House, the Nico Malan Theatre of Cape Town and the State Theatre Pretoria. In 1995, she participated in the production of her first Tristan and Isolde at the State Theatre Wiesbaden. From 1995 to 2009, she is the vocal coach for director Hans-Peter Lehmann s Wagner s operas, Der Ring des Nibelungen, Lohengrin and Die Meistersinger von Nürnberg in the Staatstheater Hannover. From 2007 to 2009, she initiated the “Verwey s Wagner Workshop＂ during her engagement with the State Theatre in Hannover and its concerts were well-received by the local audience. In 2010, she began her solo evenings of her

“Verwegenes Zu Wagner＂ in Frankfurt and was also invited for the Taiwan Philharmonic s production of Elektra.

聲樂指導

艾希．凡魏vocal coachAnsi Verwey

2013/7/10,12,14



1972年創的台北愛樂合唱團，1983年聘請自美學成歸國，專攻合唱指揮的杜黑教授擔任指揮。2008年起，聘任古育仲為常任指揮，於2010年起，聘任吳尚倫為常任指揮。1993年嚴選團員40人成立「台北愛樂室內合唱團」，每年皆獲邀參加國際重要音樂節之演出。曾與NSO國家交響樂團合作過威爾第《安魂曲》、馬勒第二、三、八號交響曲、孟德爾頌《以利亞》、韓德爾《彌賽亞》等；更經常為國內作曲家作品首演，如錢南章《馬蘭姑娘》、《佛教涅盤曲》、《娜魯灣第二號交響曲》、馬水龍《無形的神殿》等；得獎錄音專輯不少，近期作品《世紀歸零》獲第14屆金曲獎最佳古典音樂專輯、演唱人、作曲人等三項肯定。

Taipei Philharmonic Chorus was founded in 1972 and, through the efforts of its previous conductors, has established an extensive repertoire and a reputation as one of the most prestigious choruses in Taiwan. Since it is one of the leading performing groups in Taiwan, the Taipei Philharmonic Chorus is awarded and sponsored by the Council for Cultural Affairs from 1994 to date as an “Outstanding Performing Groups＂. From the 140-voice chorus, a smaller 40-voice choir is selected to tour and to perform more select musical works. This group, known as “Taipei Philharmonic Chamber Choir＂ has an impressive history of overseas performances. The chorus and the chamber choir together have been collaborated or invited to perform with famous conductors and orchestras in many different festivals and countries.

台北愛樂合唱團Taipei Philharmonic Chorus

2012/12/8 2012/12/31 &2013/1/12013/3/30

拉縴人男聲合唱團的前身是「成功高中校友合唱團」，自1998年首場音樂會之後，即深獲各方好評和讚許，2003年起連續八年獲選為行政院文建會扶植演藝團隊，持續致力於推廣男聲合唱及創新展演，現由聶焱庠擔任藝術總監暨指揮。據2006年的歐洲INTERKULTUR Foundation所公佈的世界合唱團排名中，拉縴人男聲合唱團榮獲世界TOP 500合唱團之第六名，更在世界男聲合唱團排名中名列第一。

Taipei Male Choir(TMC) was founded in 1994. In the past few years, the TMC has been invited to many choral festivals and won the gold metals in several international choir competitions, including the Choir Olympic Competition in 2002 and 2004, Takarazuka International Chamber Chorus Contest in Japan in 2003 and 2009, and the 36e Florilège Vocal de Tours in France in 2007 among many others. In the latest world chorus ranking list by INTERKULTUR Foundation, the TMC is listed No.6 among 500 top choirs in the world, and No. 1 of the male choir. The TMC is known for it s unique performance in a cappella, sacred music and chamber choir.

拉縴人男聲合唱團Taipei Male Choir

2013/5/31

教育部於民國74年輔導成立國立實驗合唱團。自2007年起聘請國際知名合唱指揮葛羅絲曼教授擔任音樂總監。曾應邀至全球十餘國演唱，包括：美國、加拿大、法國、義大利、西班牙、日本、韓國、新加坡、馬來西亞、泰國、澳洲、紐西蘭、夏威夷……等地。2004、2008年應聯合國教科文組織之國際音樂教育年會邀請，分別赴西班牙、義大利演出。2011年應邀至義大利參加洛雷托（Loreto）國際聖樂節，優異表現獲國際樂壇一致讚賞，身兼國家文化大使之任務。

Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Since 2007, Prof. Agnes Grossmann has become the music director of choir. The Taiwan National Choir has visited Korea, Singapore, Malaysia, France, the United States, Australia, New Zealand, Canada, Spain, and Hawaii, etc. in recent years. Then it had the honor to be the representative of Taiwan to perform in the annual conference for music education of UNESCO held in Spain in 2004 and in Italy in 2008.

國立實驗合唱團Taiwan National Choir

2012/10/27 & 28


100 空中導聆講座

愛樂電台｜台北 FM99.7 新竹 FM90.7音樂線上｜演出前兩週週三 19:00 主講：王世強

IC之音電台｜新竹 FM97.5百珊 Fun音樂｜演出前一週週四 21:15 主講：柳百珊

空中導聆講座

NSO 音樂會前導聆於演出前 30分鐘舉行

愛樂 2012/09/05 Wed. 19:00 IC之音 2012/09/13 Tue. 21:15

開季音樂會—永恆羅密歐

愛樂 2012/09/12 Wed. 19:00 IC之音 2012/09/20 Tue. 21:15

牧神與愛神

愛樂 2012/09/19 Wed. 19:00 IC之音 2012/09/27 Tue. 21:15 迷幻奇航—天方夜譚

愛樂 2012/09/26 Wed. 19:00 古典音樂駭客之夜

愛樂 2012/10/03 Wed. 19:00 冰原烈焰

愛樂 2012/10/10 Wed. 19:00 酒神與海妖

愛樂 2012/11/07 Wed. 19:00 叛逆古典

愛樂 2012/11/21 Wed. 19:00 IC之音 2012/11/29 Tue. 21:15

心靈聖詠

愛樂 2012/11/28 Wed. 19:00 樂起地平線—布魯克納第六

愛樂 2012/12/19 Wed. 19:00 IC之音 2012/12/20 Tue. 21:15

跨／新年音樂會—威爾第之夜

愛樂 2012/12/26 Wed. 19:00

英雄與皇帝

愛樂 2013/02/13 Wed. 19:00 絕技沙龍

愛樂 2013/02/27 Wed. 19:00 IC之音 2013/03/07 Tue. 21:15 暮光草原

愛樂 2013/03/06 Wed. 19:00 IC之音 2013/03/14 Tue. 21:15 純淨美聲—莎賓．梅耶與NSO

愛樂 2013/03/20 Wed. 19:00 彼得與狼⋯⋯還有巴巴！

愛樂 2013/03/27 Wed. 19:00 漫步展覽會

愛樂 2013/04/03 Wed. 19:00 D吟．曼陀林──艾維塔與他的新朋友

愛樂 2013/04/10 Wed. 19:00 琴劍交鋒

愛樂 2013/04/24 Wed. 19:00 IC之音 2013/05/02 Tue. 21:15 蒼穹天河—布魯克納第五

愛樂 2013/05/01 Wed. 19:00 別來無恙，老柴！—賀普與NSO

愛樂 2013/05/15 Wed. 19:00 威瑪1857—李斯特的浮士德

愛樂 2013/05/22 Wed. 19:00 鐵血柔情

愛樂 2013/05/29 Wed. 19:00 IC之音 2013/06/06 Tue. 21:15 海之詩

愛樂 2013/06/19 Wed. 19:00 IC之音 2013/06/27 Tue. 21:15

歌劇《女武神》

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Live

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國家音樂廳座位圖National Concert Hall seating plan


國家戲劇院座位圖National Threater seating plan

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探索系列 / 法蘭西系列 / 名家系列New Frontier / Kleidascopic France / Masters & NSO

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威爾第之夜 NSO跨 / 新年音樂會Forever Love 2013 New Year Concert

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NSO 歌劇女武神NSO Opera Die Walküre


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古典音樂駭客之夜Big Nightmare Music—Igudesman & Joo

800 600 400 未開放E

NSO永遠的童話—彼得與狼⋯⋯還有巴巴！NSO Forever Tales—Peter, Wolf...and Babar!

＊詳細票價資訊請參閱 nso.ntch.edu.tw

1000 800 600 400F

D吟．曼陀林—艾維塔與他的新朋友Avi Avital and His New Friends

未開放

首張精選

特價

99元

nso 2012/13 season brochure

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