2013 TIFA 兩廳院年度製作 落葉. 傾城. 張愛玲 Fall for Eileen Chang 演出時間 演出地點 2013.3.2 ( 星期六 )7:30pm 國家音樂廳 National Concert Hall 主辦台灣國際藝術節主要藝文支持特別感謝指定住宿 演出長度 上半場 55 分鐘中場休息 20 分鐘下半場 40 分鐘
藝術節序 About 2013 TIFA 2013 台灣國際藝術節 五周年 今典出航藝揚國際 2013 年是兩廳院 TIFA 台灣國際藝術節 的第五屆,2 月 15 日至 3 月 31 日, 以 今典出航藝揚國際 為主題, 品味古今經典, 注入創新活力,17 檔 49 場國內外精采節目, 在兩廳院舞台上輪番上陣 年度製作方面,2013 年兩廳院邀請國際著名作曲家克里斯蒂安. 佑斯特 (Christian Jost) 台灣重量級作曲家鍾耀光與知名劇場導演黎煥雄, 攜手合力打造張愛玲音樂劇場 落葉. 傾城. 張愛玲, 重現曠世才女飛揚的詩情和幽隱的內在 此外, 兩廳院與新加坡濱海藝術中心委託日本編舞家梅田宏明編創 形式暫留, 梅田宏明也將獨舞 觸. 覺 國內外精彩節目還包括..德國柏林人民劇院 賭徒 希臘阿提斯劇院悲劇經典 普羅米修斯 智利猴厲害劇團 魚不會飛 以色列變色龍擊樂二重奏與國家交響樂團演出 無限之旅 法國手風琴與大提琴二重奏 吉普賽靈魂 馬歇爾舞蹈劇場 金雞 德國碧娜. 鮑許烏帕塔舞蹈劇場 穆勒咖啡館 與 春之祭 雲門舞集與喬治亞魯斯塔維合唱團首度於台灣同台演出 流浪者之歌 ; 國光劇團 水袖與胭脂 綠光劇團 台灣文學劇場二步曲 單身溫度 飛人集社與東西社清新偶劇 消失 神木下的夢, 國家交響樂團與單簧管獨奏家莎賓. 梅耶演出 純淨美聲 音樂會, 也將與台北愛樂合唱團演出威爾第 安魂曲 江之翠劇場 望明月 南管音樂會 台灣傑出編舞家孫尚綺新作 浮. 動 慶祝 台灣國際藝術節 五歲生日, 兩廳院竭誠邀請您走進豐富的舞台世界, 與我們一起品味亙古的經典和創新的活力! 2
藝術節序 About 2013 TIFA Celebration of the 5th Anniversary of TIFA -- Newly Launched Masterpieces Sail on Accolades Overseas Held in 2013 from February 15 to March 31 is the fifth year of Taiwan International Festival of Arts (TIFA) hosted by National Chiang Kai-shek Cultural Center, the National Theater and Concert Hall (NTCH). The Festival will present works by contemporary masters as well as many other new creations. Seventeen outstanding pieces from Taiwan and overseas in forty-nine performances stage in the four venues of the NTCH. After the highly acclaimed Yogeeti, the NTCH's successful Annual Production of 2012, we invite internationally renowned composer Christian Jost and the prestigious Taiwanese composer CHUNG Yiu-kwong to collaborate with the theatre director LI Huan-hsiung in producing a musical-theatre work Fall for Eileen Chang. Another new production of the NTCH is Japanese choreographer Hiroaki Umeda s Temporal Pattern, co-commissioned by the NTCH and Esplanade- Theaters on the Bay in Singapore. Other programs this year include Der Spieler (The Gambler) by Volksbu hne am Rosa-Luxemburg- Platz, the classical tragedy Prometheus Bound by the Attis Theatre from Greece, and dreamy Los Peces No Vuelan (Fishes Don t Fly) by Compania La Mona Ilustre from Chile, Voyages by Salamandrum & NSO, Vincent Peirani & Francois Salque, a crossover duet of accordion and cello from France, Rooster, a new production of Barak Marshall Dance Theatre, Cafe Muller& Le Sacre du Printemps (The Rite of Spring) by the Tanztheater Wuppertal Pina Bausch from Germany, Song of the Wanderers featuring the first joint collaboration on stage of the Cloud Gate Dance Theatre of Taiwan & Rustavi Ensemble from Georgia, Flowing Sleeves and Rouge by the Guoguang Opera Company, Taiwan Literature Theater Episode 2: Temperature of a Single Man by the Greenray Theatre, La Disparition reverie sous l arbre de mille ans, a piece specially tailored for both adults and children by the Flying- Group Theatre and L Est et l Ouest, two concerts produced by the NSO, Sabine Meyer & NSO and Verdi s Requiem, collaborated with Taipei Philharmonic Chorus, Moon in Your Eyes: the Concert of Nanguan by the Gang-a-tsui Theater, and Shang-Chi Sun s debut of Uphill. The NTCH invite you to join us in celebrating the fifth anniversary of TIFA. Let s enjoy the everlasting masterpieces and their vigor of innovation! 3
總監的話 Director s Words 繼 2012 年兩廳院年度製作, 與法國卡菲舞團共同完成的 有機體, 今年兩廳院邀請德國作曲家克里斯蒂安. 佑斯特 (Christian Jost) 以及活躍於國際之重量級作曲家鍾耀光及臺灣知名劇場導演黎煥雄三人攜手打造張愛玲音樂劇場 落葉. 傾城. 張愛玲 佑斯特 (Christian Jost) 由張愛玲詩作 落葉的愛 及短篇小說 心經 獲得靈感, 創作了包含開場詩及四景的小型歌劇 心經, 並分別邀請出色聲樂家黃莉錦 林玲慧 翁若珮 韓蓬與國家交響樂團共同演繹曠世才女飛揚的詩情與幽闇的內在 另外在下半場鍾耀光則以小說 傾城之戀 為藍本, 由胡琴獨奏家王銘裕 王薇 十方樂集與國家交響樂團以胡琴 打擊樂 豎琴與絃樂團的組合展現大時代的文化衝擊 堅強的音樂陣容外, 還有黎煥雄導巧妙的加入寫意視覺戲劇元素及新媒體, 透過拆解重構, 展現張愛玲的文字心影 不同於過去從戲劇 電影形式呈現的張愛玲作品, 今天讓我們一起透過這個跨國 跨界的創意組合, 一起用音樂意象的角度來認識張愛玲 代理藝術總監 4
總監的話 Director s Words After Yogeeti, the annual production of 2012 that was co-produced by the NTCH and the Valde-Marne/Kafig Company in France, this year, the NTCH invites German composer Christian Jost, internationally esteemed composer CHUNG Yiu-kwong, and the well-known director of Taiwan theatre LI Huan-hsiung to join forces to produce a musical-theatre work Fall for Eileen Chang based on her writngs. Inspired by Eileen Chang s poem Love of a Falling Leaf and short story Heart Sutra, Jost has composed Heart Sutra, a chamber opera in 4 scenes and a prologue. Four outstanding singers HUANG Li-chin, LIN Ling-hui, WENG Jo-pei, and HAN Peng, and the NSO are invited to unfold the poetic rhetoric and dark inner feelings infused throughout this legendary talented woman s writings. After that, CHUNG Yiu-kwong presents a work based on the fiction Love in a Fallen City, displaying the cultural influences during a period of tumult with an ensemble of huqin, percussion, harp, and string orchestra, featuring huqin soloists WANG Ming-yu and WANG Wei, Forum Music, and the NSO. In addition to these prestigious musicians, the director LI Huan-hsiung skillfully combines new media with auditory elements and visual theatrical elements based on Chinese paintings built on free strokes and shunning details. Through deconstruction and reconstruction, the love story and inner world hidden within the texts of a legendary talented female unfold. A work on Eileen Chang which is different from what has been presented via theatre and movie in the past. Join us in acknowledging her from the perspective of musical impression through a creative team of cross-country and cross-disciplinary collaboration. Deputy Artistic Director 5
曲目 Program 克里斯蒂安. 佑斯特 : 心經 包含開場詩及四景的小型歌劇 指揮 / 克里斯蒂安. 佑斯特許小寒 / 黃莉錦段綾卿 / 林玲慧母親 / 翁若珮龔海立 / 韓蓬國家交響樂團 ~ 中場休息 ~ 鍾耀光 : 傾城之戀 給高胡獨奏 二胡獨奏 打擊樂 豎琴與絃樂團 指揮 / 鍾耀光二胡 / 王銘裕高胡 / 王薇十方樂集國家交響樂團意象演員 / 魏沁如 葉文豪 本中心表演藝術圖書館典藏相關節目資料, 詳見 http://libserv.ntch.edu.tw/related_catalog/index.asp, 並歡迎親洽表演藝術圖書館 ( 國家戲劇院地下層 ) 借閱使用 6
曲目 Program Christian Jost: Heart Sutra, Chamber opera in 4 scenes and a proloque Christian Jost, conductor HUANG Li-chin, as Hsu Xiao-han LIN Ling-hui, as Duan Ling-chin WENG Jo-pei, as Mother HAN Peng, as Gong Hai-li National Symphony Orchestra ---Intermission--- CHUNG Yiu-kwong: Love in a Fallen City, For huqins, percussion, harp, and string orchestra CHUNG Yiu-kwong, conductor WANG Ming-yu, erhu WANG Wei, gaohu Forum Music Percussion Ensemble National Symphony Orchestra WEI Ching-ju, actress YEH Wen-hao, actor For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp. 7
節目簡介 Introduction 關於兩廳院年度製作 落葉. 傾城. 張愛玲 文字 / 李秋玫 張愛玲, 是一個多重的角色, 她可以是演員 可以是導演 可以是舞台設計 或者, 她也可以跳脫這一切, 反過來評論這眼前一切 至於, 演的究竟是不是自己的故事? 套上她的口吻 擺出她的姿態, 一切就變成 也許是, 也許不是! 一個開放的空間, 留給了電視 電影 舞台劇無限的可能, 但說到音樂, 誰又伸手膽敢挑戰這個她不怎麼鍾愛的一道菜? 心經 化身歌劇女主角如太陽 第一次在專業舞台中以音樂的形式呈現, 兩廳院年度製作 落葉. 傾城. 張愛玲 提出另一個閱讀張愛玲的角度 在富文學造詣的兩廳院前藝術總監黃碧端提議下, 心經 搖身成為首部以張愛玲作品為題的歌劇 雖名為 心經 但卻是包含了張愛玲的短篇同名小說及詩作 落葉的愛 心經 是女孩對父親不倫的愛戀, 以及她和同儕 男友與母親之間的糾結心理, 而 落葉的愛 寫一片枯葉緩緩地飄落地上, 隱藏著戀人的愛戀纏綿, 恰巧貼近女孩的心境 以這首短詩作為開場白, 導出的是一段不知道是要腐化或是重生的愛情 故事的開頭發生在上海的一個夏夜, 女主角小寒以中文唱出 落葉的愛 完整的詩篇後, 歌劇從樓梯的談心開始 那個密閉的空間 昏黃的燈光對小寒來說總有些魔力 小寒隱約透露對父親的傾心, 而好友綾卿則述說她的家庭背景 那種張愛玲描述情境的特殊語言, 在 NSO 執行長邱瑗的筆下編寫成一個開場詩加上四個景, 由女高音黃莉錦和林玲慧分飾小寒與綾卿, 而次女高音翁若佩則是擔任母親一角 擅長歌劇創作的德籍作曲家佑斯特在熟讀張愛玲的眾多作品後, 對 心經 提出了一個獨一無二的設計 他說 : 我的歌劇總是給觀眾清楚的框架, 小寒就像是一個太陽, 其他的人就是繞著她走的行星, 所以我讓她從頭到尾都在台上, 而其他人就跟她一起構成不同的場景 小寒和綾卿 小寒和母親 小寒和男朋友 再回到小寒和母親 每個人都來跟她唱歌, 然後走掉, 再換下一個人 對我一個作曲家來說, 並沒有其他曲式可以套用, 無非就是二重唱 即使有一些詠歎和獨白, 但這種歌劇架構是前所未有的 最具爭議的是, 父親這個角色在小說中有終極性, 那尖銳與對峙導致小寒的失控和瘋狂, 但佑斯特卻將他從歌劇中抽離, 從頭到尾並未讓他在舞台上出現 對於父親的缺席, 佑斯特提出他的見解 : 讀 和 看 是不一樣的, 每個讀者在讀這個故事時, 都會有自己的想像, 但在舞台上, 你看見他了, 就會發現他無論如何都會受到觀者的指控, 因此他根本沒有說話的機會 而且就算我可以寫最美的旋律給他, 也沒有人會認同他的罪惡 因此回歸到純粹的 愛情 上, 佑斯特的調整, 反而讓小寒的情感起伏不 8
節目簡介 Introduction 被嗆辣的議題掩蓋 為此, 導演黎煥雄更刻意在舞台上擺放四張椅子, 其中一張永遠空著 有位置的人只要起身與小寒對應時, 椅子就會浮動起來 他說 : 每個人都在找自己的位置, 小寒卻從頭到尾不會有對的位子, 沒有一張椅子可以坐下 而那張空著的椅子, 則直接呼應到缺席的父親 傾城之戀 十二段胡琴演繹男女主角 下半場的小說, 是以 傾城之戀 為藍本創作的樂曲 具有中文系背景的導演黎煥雄在重新爬梳過後, 將全篇依序整理成十二段, 並且以標示主題貫穿 但作曲人選如何產生? 他說 : 傾城之戀 裡的文化衝擊 時代 香港 節奏音色 胡琴等等因素, 都讓我想到鍾耀光 具有打擊樂背景的台北市立國樂團團長鍾耀光來自香港, 故事中發生的地點對他來說再熟悉不過 根據十二段的構思創作, 他信手拈來顯得得心應手 : 描繪香港, 我用廣東音樂 旱天雷 來作素材, 這個動機輕巧流暢, 表現那種忙碌熱鬧的感受 而男女主角之間曲折的愛, 就用二胡及高胡來對話, 由胡琴演奏家王銘裕和王薇詮釋 當然曲風的自然轉換及令人耳目一新的巧思也是鍾耀光的拿手本領 : 因為男女主角第一次見面是在灣仔的舞廳, 我研究了一下大戰之前在舞廳的音樂, 不外乎美國大兵帶來當時流行的爵士樂, 也就是咆哮與爵士的風格 兩位主角之間有一段聽起來像是爵士即興效果, 表現他們開心地跳舞 而第八段是重點, 女主角白流蘇動了心, 考慮要不要接受時,New Age 的音樂讓她顯得無可奈何 而從上半場迄今一直肩負表演重任的國家交響樂團和十方樂集, 在此時則完全退到幕後, 留下兩個民族樂器配著鐵琴, 寫下點點滴滴的旖旎 相對於上半場, 鍾耀光認為 : 我的 傾城之戀 就像是 器樂歌劇 (Instrumental Opera) 你也可以說它是一個沒有歌者的歌劇, 或者是給中國樂器演奏的歌劇 從另個角度來看, 或許這是對的 白流蘇和范柳原藉著胡琴高歌, 而時間 男女主角 傾城之戀的主題讓作曲家在曲中變形 回應 再現 舞台上的藤蔓將上下半場整合, 回應劇情中的糾結 凌亂與蔓延, 而舞台的歪斜, 表現傾城的美麗, 但更多的是美麗的自私, 以及戰爭的傾城下, 小兒小女的愛 放下張愛玲精確聆聽張愛玲 我不諱言張愛玲是一個很好的養分, 但作為一個劇場導演, 我其實不會選張愛玲 因為她太厲害, 她把所有場面調度 角色都做完了, 所以不太可能超越她, 只得乖乖 follow 在最低限的妝點下, 黎煥雄讓團隊回歸一個終極任務, 那就是 幫助大家更精確地聽音樂 因此, 當所有的準備都已就緒, 接下來, 無論是張迷也好, 張盲也罷, 請將所有對她的了解歸零, 一起重新用音樂的角度來認識張愛玲 ( 轉載自 PAR 表演藝術 雜誌 242 期,2013 年 2 月號 ) 9
節目簡介 Introduction Two Ways to Hear Her Voice About Fall for Eileen Chang, the New Creation of the NTCH by LEE Chiu-mei Eileen Chang was versatile; she could have been an actress, director, set designer, and more, if she had wanted to. Moreover, she didn t have to be restricted by these choices; she could have worked as a critic to comment on works like those she wrote if they were written by others. You ask Does the play portray her story? Well, Maybe yes, maybe not, we mimic in her voice and posture to give an answer. A gray area is left for teams of TV shows, cinema, and plays to use their imaginations. As for music, who has the nerve to challenge this genre which is not in Eileen Chang s priority list? Turn Hear Sutra into an Opera. Make the Heroine Glitter Like the Sun Fall for Eileen Chang, the New Creation of the NTCH, is the first production of Eileen Chang s fictions into music onstage. It offers a different perspective through which to comprehend her. Suggested by Pi-Twan Huang, former Director of the NTCH, a sophisticated English scholar, Heart Sutra is turned into the first opera adapted from Eileen Chang s works which includes her short fiction with the same title and her poem The Love of a Falling Leaf. The former depicts a girl s forbidden love to her father, while the latter captures the process of a withered leaf falling to symbolize the entangled relationship between lovers which happens to reveal the inner world of the girl in the former story. Opening the opera with this poem, it illustrates a love story unable to be defined as corrupted or reborn. It starts on a summer night in Shanghai. After Xiao-han, our heroine, sings the lyrics of The Love of a Falling Leaf in Chinese, the story begins with the talk on the staircase. This dim-lighted close space has its magic power on Xiao-han. She vaguely mentions her love for father, while her best friend Ling-chin gives a brief description about her background. Through Joyce CHIOU s adaptation, those specific languages Eileen employed to sketch scenes was unfolded into an opera in the prologue and four scenes. The roles of Xiao-han and Ling-chin are played by sopranos HUANG Li-chin and LIN Ling-hui respectively, while the role of Xiao-han s mother is played by mezzo-soprano WENG Jo-pei. German composer Christian Joist, who excels in opera writing, made a unique blueprint for Heart Sutra after he studied Eileen Chang s works carefully. He remarked, I always make clear layouts for audiences in my operas. In Heart Sutra, Xiao-han is like the sun; other characters are like planets revolving around her. Therefore I have her stay on stage throughout the opera, while others join 10
節目簡介 Introduction in different scenes, such as Xiao-han and Ling-chin, Xiao-han and her mother, Xiao-han and her boyfriend, back to Xiao-han and her mother once again. They take turns singing with her before exiting. Then enters the next person I put in some arias and solos, in addition to these obligatory duets. I have never met such a challenge. While Xiao-han s father plays a crucial part in driving her out of control in the original work, Joist intentionally took him out of the opera; he never comes on the stage. Joist explained why he made such an arrangement, It is different, reading and seeing. Readers have their own imaginations when they read this story. Nevertheless, if he appeared on the stage, audiences silent condemnation would be unavoidable. He would have no chance to give his declamations, even if I assigned him the most beautiful tunes; his sentence would still be guilty. It s the reason why Joist only focuses on the issue of love. However, his arrangement made Xiao-han s emotional conflicts stand out from the debates on moral issues. In order to highlight Joist s arrangement, Director Li painstakingly puts four chairs on the stage with one of them empty throughout the opera. Whoever stands up to interact with Xiao-han will have his/her chair buoy up. He remarked, Everyone is busy finding his seat. As for Xiao-han, she is unable to get a right seat to sit down. And the empty seat symbolizes the absent father directly. Twelve Episodes of Love in a Fallen City, with Huqin Interpreting Male and Female Protagonists Music written about Love in a Fallen City is presented in the second part of the performance. Director Li, a graduate of the Department of Chinese, separated the fiction into twelve episodes with themed titles. The question arose: who would be the composer? Director Li said, The first name that came into my mind was CHUNG Yiu-kwong because of the cultural impact, time factor, setting of Hong Kong, tempo and tone, erhu, and other issues of Love in a Fallen City. CHUNG Yiu-kwong, current General Director of Taipei Chinese Orchestra and a percussionist, was born in Hong Kong and well acquainted with the locations mentioned in the fiction. He worked speedily and proficiently on twelve adapted episodes. I employed the airy and fluent theme of the Cantonese music Thunders in the Drought to portray busy and boisterous scenes of Hong Kong. Moreover, the intricate relationships between male and female protagonists are manifested by conversations between the erhu and gaohu which are performed by WANG Ming-yu and WANG Wei respectively. CHUNG Yiu-kwong is apt at inconspicuous transfer of music styles and arresting ingenuities in writing. The male and female protagonists first met in the ballroom of Wan Chai. I did some research on Hong Kong s ballroom music before WWII. It seems like most of it was popular American music, such as jazz and bebop, brought by G.I. There is a section permeated with jazz improvisation, referring to the joyful dancing of the heroine and hero. The eighth section is the turning point. It s the moment the heroine Bai Liu-su is moved by Fan Liu-yuan s courtesy and yet 11
節目簡介 Introduction is still indecisive about whether she should allow him to go further. Music of the New Age employed here implies her helplessness. The NSO and Forum Music, who have been the title roles under the spotlight from the the beginning till now, sit back. Only the erhu and gaohu chant quietly and solitarily with the accompaniment of the vibraphone. In comparing this with the first part of this performance, CHUNG Yiu-kwong commented, You can call Love in a Fallen City an instrumental opera, an opera without singers, or an opera for Chinese instruments. It s more or less an accurate description from another perspective. Bai Liu-su and Fan Liu-yuan reveal their emotions by huqin. Themes about time, heroine and hero, and the story were distorted, responded, and replicated by the composer. Vines crawling on the stage throughout join the two halves of performance into one and they are also an implication for the entangling, chaotic, and pervading relationships hidden in the story. Despite the inclination of the stage to try to manifest the decadent beauty of a fallen city, arisen are the selfishness hidden in the beauty and love story of two ordinary people in a fallen city during the war. Put the Eileen Chang You Have Read Aside in Order to Hear Her Voice More Clearly I have to admit Eileen Chang is a wonderful resource. But for a director of theatre like me, my job is limited by her works. She delineated mise-en-scène and characters to such details, it left nothing for me to do but follow her. Accordingly, he adds very few to no interpretations, in order to fulfill the ultimate task make audiences focus on music. Now everything is ready. For you, the audiences, no matter if you are a fan for Eileen Chang or have never read any of her works, just put your knowledge aside. Let s approach her world from the angle of music. 12
導演詮釋 Director s Annotation 視覺的任務, 是為了幫助聽覺 作為一位讀者, 或說一位具有劇場導演背景的讀者, 我會說張愛玲不會是導演的選擇 這句一語道出黎煥雄對張愛玲的徹底明瞭, 也帶出了他所面臨的重重關卡 過去, 張愛玲的作品已有太多改編, 在想像得到的戲劇媒介中, 都曾以不同的模式搬上舞台 在轉化過程中, 文字本身即提供了飽滿的養分, 因為她對於外在形體 顏色感觸 心裡分析 表情動作都有清楚的描繪 但對於一個劇場導演來說, 面對已經將所有場面調度以及角色都安排妥當的張愛玲, 黎煥雄只能搖頭感嘆 : 她太強了, 我們不太可能超越他 況且相較於戲劇院, 音樂廳的演出場地限制多, 使得工作難上加難 然而從大學時期開始成為張迷至今延續的情感, 以及對音樂劇場的形式已有基礎, 才使黎煥雄突破心結, 讓心中那種 欠張愛玲太多 的愧疚, 終於得以 還她一些 然而黎煥雄並不認為 落葉. 傾城. 張愛玲 是一場他自己與張愛玲的交鋒 最重要的, 還是作曲家 他說 : 張愛玲的某些作品很有精彩的聲音意向, 相對於顏色 氣味, 她認為音樂是流不住 哀傷的 矛盾的 反而因為這樣, 我覺得有興趣挑戰的反而是音樂家們 不用現成或張愛玲喜歡的音樂去描述, 而是她最 不想要 的編制或形式來表現, 這是該作曲家們覺得過癮的 心經 的嗆辣筆法加上對愛的偏執, 恰巧與西方歌劇合拍 ; 而 傾城之戀 的那種漂浮 竄動 撞擊直指著打擊樂的聲響 可惜的是, 小說中充滿豐富的音樂與色彩, 劇場上卻無法達成指示 為此, 黎煥雄抓出一個核心印象, 那就是 藤蔓 這不僅是小說中所提到的植物, 也代表著某種糾結 凌亂 想要向無蔓延的感受, 呼應劇中人物的心理狀態 而舞台刻意顯現一種 結構性的歪斜, 透露出 心經 不正常的愛戀, 也訴說 傾城之戀 美麗背後的自私以及城市因為戰爭而傾倒 頹圮 視覺上應用多媒體的影像與故事內容作直接的連結之外, 也運用一組肢體演員做演譯 但上半場有歌手, 下半場也有兩位胡琴各自扮演主角, 為什麼需要肢體演員的出現? 黎煥雄卻認為歌手和樂手們一直有他們的定位, 如果缺乏肢體演員, 節目便成了音樂會, 或者甚至是多了影像的音樂會 因此導演決定讓他們上場 不演戲 不達到舞蹈的密度, 也不完全是小說中的角色, 對位的卻是一位類似張愛玲的女人, 並且由她折射出另一位男人 他也許代表著某一個人, 或者泛指所有筆下的男人 劇組是隱藏 低限 並且絕不破壞聲音動態的 因為在黎煥雄的心中, 劇組在舞台上的目標, 就是透過這些存在去強調音樂 至於夠不夠張愛玲 既然沒有人知道張愛玲的聲音會是什麼? 那麼作曲家就沒有任何包袱 ; 既然音樂自由, 那麼導演的宗旨, 就是讓這個自由, 準確地被聽見 ( 李秋玫整理 ) 13
導演詮釋 Director s Annotation The Task of Vision Is to Aid the Hearing As a reader, or more precisely, a reader with a directing background, I have to admit I would never have chosen Eileen Chang s works for stage. LI Huan-hsiung s words demonstrate that he did comprehend Eileen Chang thoroughly and also indicate all the difficulties he experienced. Eileen Chang s works have been adapted so many times in the past. They have appeared in every genre for stage you can imagine and in different ways. During the processes of conversion, the rhetoric she employs provides superior resources for the interpretative version. She has distinct descriptions for profiles, impacts of colors, psychological analysis, and emotional expressions and motions. Nevertheless, for a director of theatre, Eileen Chang who has already arranged all the miseen-scène and choices of roles doesn t leave much for them to do. LI Huan-hsiung sighs hopelessly, She is almost perfect in everything. It s impossible for us to override anything. Moreover, the auditorium of the Concert Hall is more restricted than the National Theater, which doesn t help with our already hard-to-fulfill task. What encouraged Li to continue was his longtime addiction to Eileen Chang s works, which began in his college years and led to his full knowledge of the genre of music theatre. He feels he owes her a lot and has to repay her. Save that LI Huan-hsiung doesn t regard Fall for Eileen Chang as a ring for him to wrestle with Eileen Chang in. The focus is on the composer, he remarks, Some of Eileen Chang s works are permeated with excellent auditory descriptions. In contrast to her ideas on color and taste, she believes that music flows unceasingly, melancholically, and inconsistently. I assume that her ideas about music are tempting to musicians. Instead of employing the ready-made or her favored music style, they like to challenge her with unorthodox or undesired music styles and enjoy the satisfaction and stimulation it raises. The bitter strokes and persistence in love revealed in Heart Sutra fit the required essentials for Western operas, while the buoyancy, fluctuation, and impact remind us of the sound of percussions. Unfortunately, music that you see everywhere in stories is not presentable on stage. On this account LI Huan-hsiung creates a core image a vine. Not only it is mentioned in the stories, but also it symbolizes something entangled, disorganized, and extending out-of-reach, reflecting the psychological states of protagonists. He also intentionally makes the stage inclined in an outlook implying the abnormal love hidden in Heart Sutra and selfishness hidden behind the beauty of Love in a Fallen City and how the city fell and collapsed in the war. 14
導演詮釋 Director s Annotation Visually, multimedia videos are adopted in order to relate to the stories, else a group of body actors joins in to interpret with their body language. Maybe you will wonder: since the protagonists from Heart Sutra are portrayed by the singers and those from Love in a Fallen City are portrayed by two pieces of erhu, why are body actors still needed? LI Huan-hsiung remarks that singers and soloists have their own assignments, and without body actors, this program turns into a straight concert or a concert with images. This is the reason he sends them onstage. They are not actually acting, nor dancing, and nor are they presenting characters from the stories. Nonetheless, they correlate to specific female protagonists created by Eileen Chang, and are reflections of certain male protagonists. He might be the image of a specific man, or all the male characters she portrays. The creative team tries to stay invisible and low profile, and stays out of the dynamics of sound. To LI Huan-hsiung, the task of the creative team is showcasing music with their efforts. Could this program represent Eileen Chang? Well, nobody really knows what she wanted to sound like. The composers are untrammeled to write as they wish. Since the music is unrestrained, it s the director s mission to make this unrestrained creation heard precisely. (interview compiled by LEE Chiu-mei) 15
樂曲解說 Program Note 心經 Heart Sutra 克里斯蒂安. 佑斯特 : 心經 包含開場詩及四景的小型歌劇 我根據享富盛譽的作家張愛玲的同名短篇故小說譜寫了小型歌劇 心經 以 1930 年代上海作為背景的詭異愛情故事 我必須坦承我已經深受張愛玲吸引, 她的確是廿世紀華語世界最重要的作家 她的故事經常以深具魅力的女主角作為中心, 這些故事的背景 大多是 1930-40 年代的上海或香港, 為譜寫一齣具有懸疑性的音樂作品提供了充份揮灑的空間 我非常高興 心經 能在台北首演, 因為它雖是一齣獨立的作品, 但也是我日後準備根據張愛玲另外一篇故事譜寫的大型歌劇的序幕 ~ 佑斯特由一個開場詩以及四個景所構成 除了以原著 心經 的為基礎外, 更藉張愛玲畢生所創的兩首詩作之一 落葉的愛 作為引子 全劇以英文演唱, 唯獨 落葉的愛 以中文開場, 並在終場擷取後半段再現作為回聲, 以呼應女主角的心境 關於女主角小寒的角色, 張愛玲以她一貫的暗喻手法來描述 ; 而在劇場中最有魔力的時刻也是來自看不到的形象, 所以每個人都可以將想像投射其中, 使藝術作品具有相同的力道 對作曲家來說, 整個故事像是一個小宇宙, 每個人都有自己對愛的定義, 也都有自己未竟的愛戀 因此作曲家以二重唱的曲式架構全劇, 讓小寒成為一個太陽, 從頭到尾都在舞台上, 而其他人則是繞著走的行星 由此小寒和綾卿 小寒和母親 小寒和男朋友 再回到小寒和母親分別構成四個景, 每個人前來與她對話, 然後退場 其中即使有一些詠歎以及獨白, 但整體來說就是以二重唱為基礎, 而此種歌劇結構更是前所未見的 與原著比對, 歌劇中的父親卻是從頭到尾沒有現身 雖然故事中, 父親仍然有著重要的地位, 但畢竟欣賞的模式不一樣, 讀 和 看 也有所差異 讀小說時可以自由地塑造父親的形象, 但只要他出現在台上, 就免不了被觀者懷疑與指控 就算是父親被賦予最美麗的旋律, 他仍舊代表著罪惡 並且沒有說話的餘地 讓觀眾去評斷父親的對錯不是作曲家的原意, 因此他選擇將父親這個人物拿掉, 不突顯不倫的戀情, 而是單純地聚焦在談論愛情上 張愛玲的作品與西方截然不同, 她的寫作充滿了符號 隱喻以及氣氛, 文字也沒有表面上的戲劇性 題材上缺乏謀殺 打鬥等, 對歌劇來說也並不那麼適合 這些無法直接轉換成歌劇的氛圍, 對是作曲家一個最艱困的挑戰, 然而, 由於真正要表達的想法並不在寫出來的字句中, 使得小說的故事具有弦外之音 卻也是作曲家得以進入音樂內在的最佳通路 ( 李秋玫整理 ) 由德國朔特音樂出版有限公司授權演出 16
樂曲解說 Program Note 心經 Heart Sutra Christian Jost: Heart Sutra, Chamber opera in 4 scenes and a proloque My chamber opera Heart Sutra is based on the short story of the same name by the legendary author Eileen Chang, a mysterious tale of love set in Shanghai during the 1930s. I must confess to becoming addicted to Chang, who is surely the most significant author of the twentieth century in the Chinese-speaking world. Her stories often center around fascinating female protagonists, and the background to these stories mainly set in Shanghai or Hong Kong during the 1930s to 1940s provides plenty of scope for the creation of a suspense-packed musical work for the stage. I am overjoyed to be able to premiere Heart Sutra in Taipei, especially since though the chamber opera is a self-contained work it is the prelude to a future large-scale opera based on another of Chang s stories. Christian Jost Heart Sutra is composed of a prologue and four scenes. Built on the short fiction with the same title, the opera is opened by The Love of a Falling Leaf, one of the only two poems written by Eileen Chang. Most of the opera is sung in English, while The Love of a Falling Leaf is sung in Chinese and its last few verses reappears at the end of the opera, in response to the female protagonist s inner feelings. Eileen Chang employed her routine figuration technique to make a sketch of Xiao-han. Invisible personalities of protagonists have magical power within theatre, with the spectators able to use their own imaginations to enhance the works. To the composer, this story is a microcosm. Each character has his/her definition of love and also has his/her unfinished love story. Accordingly, the composer built up the opera mostly through duets. Xiao-han is assigned as the sun, staying on stage throughout the opera. Other characters are like planets revolving around her. Based on this concept, Xiao-han and Lingchin, Xiao-han and her mother, Xiao-han and her boyfriend, and once again Xiao-han and her mother compose four scenes respectively. They take turns singing with her before exiting. Though the composer put in some arias and solos in between, most of the opera employs the use of duets. No opera has been built in this structure before. Contrary to the source material, in which Xiao-han s father plays a crucial role, he is absent in the opera. After all, different techniques are adopted to enjoy fiction and opera. The habits of reading and seeing are not same. Readers have their own expectations for the personality of the father. Nevertheless if he appeared on the stage, the audience s bias would be unavoidable. He would have no chance to give his declamations, even if Christian Jost assigned him the most beautiful tunes, as he is a sign of sin. The composer doesn t intend for the spectators to judge the father, so he takes the father out of the opera. He tries to ignore the illegitimacy of the affair of feeling, only focusing on the issue of love. Eileen Chang s works are permeated with symbols, metaphors, and ambiance. Words she employs lack superficial dramatic power. Rarely, murders or violence appear in her stories, which make them unobvious choices for operas. Ambiance which is hard to translate into the opera challenges the composer exceedingly. On the other hand, messages which aren t explicit within the lyrics keep the stories ambiguous. It s an excellent passage for the composer to open his inner musical interpretation to the audiences. (interview compiled by LEE Chiu-mei) By arrangement with Schott Music, Mainz, Germany. 17
樂曲解說 Program Note 心經 Heart Sutra 場景 編劇 邱瑗 開場詩 : 落葉的愛 ( 中文演唱 ) 詩 / 張愛玲大的黃葉子朝下掉慢慢的, 他經過風經過淡青的天經過天的刀光黃灰樓房的塵夢下來到半路上看得出它是要去吻它的影子地上它的影子迎上來迎上來又像是往斜裡飄葉子盡著慢著裝出中年的漠然但是一到地上金焦的手掌小心覆著個小黑影如同捉蟋蟀 唔, 在這兒了! 秋陽裡的水門汀地上靜靜睡在一起它和它的愛 18
樂曲解說 Program Note 心經 Heart Sutra 第一景 : 獨白的樓梯 ( 小寒 & 綾卿 ) 在小寒家中的樓梯間, 這天是她 20 歲生日 樓梯間的電燈, 不巧又壞了 兩人只得摸著黑, 挨挨蹭蹭, 一步一步相偎相傍走下去 幸喜每一家的前門都有燈, 當她們緩步下樓時, 光線從門頂一盞長方形的玻璃燈中射出來, 照出腳下仿花崗石的磚地 第二景 : 八樓的青藤 ( 小寒 & 母親 ) 一個月後, 客廳裡 地平線上還看得到半個落日, 母親忙著照顧陽台上的盆栽 小寒在屋裡不耐煩地徘徊, 從她父親的書房中向陽台張望, 又在客廳內來回地走 她口裡唸唸有詞, 又用腳踢她母親最喜歡的綠瓷花盆 父親, 最近家裡簡直沒看見他的人, 小寒忍不住猜疑父親到那兒去了 母親對她的疑問毫無興趣 第三景 : 告白 ( 小寒 & 海立 ) 第二天, 花店裡 強烈的初秋的太陽晒在青浩浩的長街上 已經是下午五點鐘了 一座座白色的, 糙黃的住宅, 在蒸籠裡蒸了一天, 像饅頭似地漲大了一些 什麼都漲大了 車輛, 行人, 郵筒, 自來水筒 第四景 : 母愛 ( 小寒 & 母親 ) 當日稍晚, 天黑了, 忽然下起雨來 小寒和母親擠在一部黃包車上 完整劇本請見國立中正文化中心網站 :http://www.ntch.edu.tw/ 19
樂曲解說 Program Note 心經 Heart Sutra Scences Script by Joyce Chiou Prologue: The Love of a Falling Leaf (sing in Chinese) Poem by Eileen Chang The big yellow leaf tumbles down slowly, passing by the breeze by the pale green sky bu the knifelike rays of the sun and the dusty dreams of yellow-gray apartment buildings. As it falls toward the middle of the road you can see that it means to kiss its own shadow. Its shadow on the ground reaches out in welcome, reaches out and seems also to drift to the side. The leaf moves as slowly as can be, feigning a middle-aged nonchalance, But as soon as it hits the ground a hand baked gold by the season carefully palms its little black shadow as if catching a cricket: Oh, here you are! In the autumn sun on the cement ground they sleep quietly together the leaf and its love. 20
樂曲解說 Program Note 心經 Heart Sutra Scene I: Xiao-han s home, on her 20 th birthday, at the staircase The Monologue Staircase : Xiao-han & Ling-chin Lights on the staircase are out. They have no choice but to walk in the dark. They lean onto each other, walking step by step, slowly. Fortunately there are front door lights in every flat. The lights shine from a rectangle glass lamps on top of the doors, reflecting on the granite steps, as they gradually walk down. Scene 2: At the living room, one month later. Vine on the 8th Floor : Xiao-han & Mother There is still half of the sunset on the horizon. Mother is tending to the plants on the balcony. Xiaohan walks impatiently inside the house. Looking out to the balcony, standing in her father s study, and walking around the living room. She is grumbling and kicking the green china vase that her mother loves the most. Father has rarely been home recently. Xiao-han can t help but start wondering about her father s whereabouts. However, Mrs. Hsu shows no interest to Xiao-han s concern. Scene 3: Next day, at the florist shop Confession : Xiao-han & Hai-li There is a dead silence. The autumn sun lights on the shining greenish pavement of this long street. It is five o clock in the afternoon. All the white rough-yellowish residents, one by one along the street, like the steamed buns growing larger after this long and steaming hot day. Everything grows bigger ---cars, people, mailboxes, water-pumps Scene 4: Later the day, pouring rain, the sky is getting darker. Mother s love : Xiao-han & Mother Xiao-han and Mother are squeezed in the little ricksha. Please find the complete libretto on the official website ( www.ntch.edu.tw ) 21
樂曲解說 Program Note 傾城之戀 Love in a Fallen City 傾城之戀 給高胡獨奏 二胡獨奏 打擊樂 豎琴與絃樂團 傾城之戀 是張愛玲著名的作品之一, 但其中東西文化 新舊時代的衝擊, 以及可以轉換成音樂的成分即使相當豐富, 卻不常被強調 因此本曲依循小說 傾城之戀, 由導演黎煥雄依故事進行分成十二大段, 建議標題與音樂主題, 並整理重要字句, 將原著中描繪聲音, 或者能夠聯想成音響色彩的部分突顯出來 隨後作曲家根據導演的脈絡思維, 讓文字中撞擊的意像以打擊樂呈現, 配上豎琴與絃樂團的基底外, 也讓二胡及高胡的獨奏分別代表男女主角, 並且相互傾訴與對話 雖然使用民族樂器當主角, 整首樂曲卻運用了相當多樣的風格 例如描寫城市景象時, 作曲家藉著自小生長於香港經常聽到的樂曲 旱天雷 作為素材創作, 暢快又道地的旋律來表現忙碌熱鬧的感受 由於兩人第一次見面在灣仔的舞廳, 故作曲家運用當時美國大兵帶來的咆哮爵士來渲染氣氛, 中間一段聽來像即興的音樂, 則是兩人愉快舞蹈的效果 而在女主角思索著是否接受對方的情感時, 音樂則帶有 New Age 的味道, 讓人感覺莫可奈何 此時絃樂團完全靜止, 只留下高胡 二胡以及鐵琴的三重奏 樂曲中可以聽見明顯的主題, 但隨著不同的段落將可聽見主題的再現以及轉化, 呼應著前後關係, 也使得音樂環環相扣 當然具像的風聲 砲彈等提示, 也隱藏在戰爭的段落中 以下是作曲家對 傾城之戀 的簡述以及十二個段落的分列 : 由兩廳院委託創作, 完成於 2012 年 10 月 全曲長約 40 分鐘, 分成不間斷的 12 個段落, 並以四個音樂主題 ( 時鐘主題 白流蘇主題 范柳原主題 傾城之戀主題 ) 貫穿整部作品 I. 時鐘主題, 上海白公館灰暗的序奏後, 鐵琴 木琴與絃樂奏出機械性的 8 分音符節奏, 呆滯, 缺乏生氣 II. 白流蘇主題技巧性的高胡獨奏, 自由奔放 III. 時鐘主題再現鐵琴 木琴與絃樂又奏出機械性的 8 分音符節奏, 末段二胡獨奏出現, 與高胡形成二重奏, 象徵二人初遇 22
樂曲解說 Program Note 傾城之戀 Love in a Fallen City IV. 范柳原主題 自由的二胡獨奏, 節奏與調性都難以捉摸 V. 誇張的城市採用我在小時候在香港整天聽到的一首廣東音樂 旱天雷 為素材, 大量使用打擊樂繽紛的色彩, 描寫香港是一個充滿活力的城市 VI. 跳舞場用 Bebop 風格寫了一段舞曲, 小說中的舞廳樂隊那時候奏的應該是這種從美國傳過來的流行舞蹈音樂 VII. 傾城主題 這堵牆, 不知為什麼使我想起地老天荒那一類的話 有一天, 我們的文明整個的毀掉了, 什麼都完了 燒完了, 炸完了, 坍完了, 也許還剩下這堵牆 這段文字感動到我, 寫了這部作品最重要的主題! VIII. 妳的窗子裡看得見月亮嗎鐵琴 高胡 二胡的三重奏 接納他與不接納他之間的拉鋸 IX. 時鐘主題再現鐵琴 木琴與絃樂又奏出機械性的 8 分音符節奏 X. 傾城主題再現改變配器後的傾城主題, 更有力度 ; 以便過渡到下一段戰爭的音樂 XI. 戰爭鼓類樂器第一次出現, 配合強力的絃樂切分節奏 XII. 傳奇的收場 傳奇裏的傾城傾國的人大抵如此 到處都是傳奇, 可不見得有這麼圓滿的收場 胡琴咿咿呀呀拉著, 在萬盞燈火的夜晚, 拉過來又拉過去, 說不盡的蒼涼的故事 不問也罷! 柔情的高胡, 細訴著這段感情的結局, 配搭上仍然是捉摸不定的二胡, 慢慢遠去 遠去 遠去 ( 李秋玫整理 ) 23
樂曲解說 Program Note 傾城之戀 Love in a Fallen City Love in a Fallen City for Solo Gaohu, Solo Erhu, Percussion, Harp, and String Orchestra One of Eileen Chang s most well-known works Love in a Fallen City contains abundant elements depicting confrontations between the Eastern and Western cultures, and new and old times. Yet what can be converted into music is often ignored. Director Li follows the narrative sequence, separating the fiction Love in a Fallen City into twelve episodes with titles and musical themes. He picks out key words and highlighted phrases portraying sounds or correlating to sound colors to work as the blueprint of the music work of the same title. Subsequently the composer, using the concepts of the director, converts narratives with strong impact into music for percussion, accompanied by harp and string orchestra, while the male and female protagonists are performed by the erhu and gaohu respectively. Although the ethnic instruments play the main roles, the music utilizes various styles. For instance, the affluent Cantonese Thunders in the Drought, which the composer is acquainted with, is employed to portray the busy and boisterous scenes in Hong Kong. The male and female protagonists first met in the ballroom of Wan Chai. The composer adopts the bebop jazz brought by G.I. to reconstruct the scene at that time. There is a section permeated with jazz improvisation, referring to the joyful dancing of the heroine and hero. The moment when the heroine Bai Liu-su is moved by Fan Liu-yuan s courtesy and yet is still indecisive about whether she should allow him to go further. Music of the New Age employed here implies her helplessness. The string orchestra sits back. Only the erhu and gaohu chant quietly and solitarily with the accompaniment of the vibraphone. Distinct themes are heard in the music. They are repeated and transformed in different sections in order to respond to the development of the story closely. Program music which depicts wind, bombing, amongst other things is employed in the sections relating to war. Below are the brief summaries of the whole work and its twelve episodes, written by the composer. Love in a Fallen City, commissioned by the NTCH, was completed in October 2012. The length is around 40 minutes. It is separated into twelve episodes performed continuously and four musical themes representing the clock, Bai Liu-su, Fan Liu-yuan, and Love in a Fallen City respectively are recurring to integrate the whole work. 1. Theme of the clock, at the residence of Bai, Shanghai After the gloomy introduction, a series of monotonous quavers are presented by the vibraphone, xylophone and strings. It s dull and lifeless. 2. Theme of Bai Liu-su Challenging gaohu solo, unrestrained and energetic. 24
樂曲解說 Program Note 傾城之戀 Love in a Fallen City 3. Recurrence of the theme of the clock A series of monotonous quavers are presented by the vibraphone, xylophone and strings once again. The erhu solo appears at the end, joined by the gaohu solo. It depicts the first encounter of the male and female protagonists. 4. Theme of Fan Liu-yuan Unbound erhu solo, both tempos and tonalities are unpredicted. 5. A Bombastic city I employed the theme of the Cantonese music Thunders in the Drought I heard frequently in my childhood in Hong Kong and mingled it with colorful percussion music to portray the busy and boisterous scenes of this city. 6. Ballroom I wrote a piece of dance music based on the style of bebop, music brought by G.I. and performed in a Hong Kong ballroom before WWII. 7. Theme of Love in a Fallen City I was moved by the following paragraph and wrote the most important theme of the work. I don t know why this wall makes me reminisce about phrases such as the end of time Someday, when our civilization is totally destroyed, all are gone, withered burned down, bombed, or wholly collapsed, maybe this wall will still be standing upright here 8. Could you see the moon from the window of your room? Trio for vibraphone, gaohu, and erhu. Indecisive moment wondering whether she should reject him or accept him. 9. Recurrence of the theme of the clock A series of monotonous quavers are presented by the vibraphone, xylophone and strings once again. 10. Recurrence of the theme of Love in a Fallen City The theme becomes more powerful after it is reprised. It is a passage leading to the next episode depicting war. 11. War Drums join in for the first time, with the accompaniment of robust syncopated strings. 12. A legendary Ending Heroes in the legends almost have the same stories. You hear legends everywhere, however not every one has a happy ending. You hear Huqin s sound every night. The players depict uncountable sad stories through the music. You might lose interest in hearing them. Tender gaohu quietly depicts the end of this love story. It walks away, far away, with the accompaniment of the still unpredictable erhu. (interview compiled by LEE Chiu-mei) 25
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 作曲暨指揮 composer and conductor 克里斯蒂安. 佑斯特 Christian Jost 我長期以來不斷地追尋這神奇的時刻, 但唯有透過結構 形式與音調之間繁複又多變的比例結合, 方能獲得 克里斯蒂安 佑斯特 克里斯蒂安 佑斯特 1963 年 10 月 17 日生於德國特里爾 他從 1983 年至 1988 年在科隆跟隨保加利亞作曲家迪墨夫學習作曲 分析與指揮 ; 並從 1988 年至 1989 年在舊金山音樂學院師事美國音樂家聖菲爾德 佑斯特曾獲得德國大眾文化基金會的獎學金, 以及北萊茵 - 西伐利亞邦藝術文化基金會的獎學金 佑斯特初次驚豔樂壇的作品是他 1992 年的管絃樂作品 岩漿, 由達姆施塔特劇院委託寫作 從 1996 年至 1998 年, 他定期前往中國, 與多個中國管絃樂團密切合作 1997 年時, 他的鋼琴協奏曲 龍的漫漫長路 (2009 年修改 ) 就是由上海交響樂團首演, 佑斯特擔任獨奏 他的管絃作品 一小步 (2002 年修改 ) 是由布萊梅德意志室內愛樂管絃樂團委託, 寫於 1999 年, 以紀念太空人阿姆斯壯於 1969 年成功登月, 並表達佑斯特對於先鋒太空人的尊崇 此外, 佑斯特還獲得更多樂團的委託, 包括柏林德意志交響樂團 柏林愛樂 法國第戎現代音樂節, 以及海牙管絃樂團等 同時他還常以指揮身份演出, 合作的樂團有布萊梅愛樂與漢堡國立愛樂管絃樂團等 佑斯特目前以自由作曲家的身份定居於柏林 他核心的作品種類為獨奏協奏曲 其作品的一項特色是從樂團的角度出發, 創造出極具氛圍的音調 佑斯特的作曲動力主要是希望能帶領聽眾在音樂迷人的外表之下, 進一步了解未知的領域 個人主義與瀕臨心理界線的經驗 他的作曲動機可由作品標題來區分 : 為小提琴與樂團的 內心深處的狂喜 (1997 年 ) 為打擊樂器與樂團的 世界的進程 (2002 年 ), 與 黑暗之心 ( 為單簧管與樂團的 遠征,2007 年, 由柏林愛樂委託 賽門拉圖爵士指揮 ) 爵士喇叭手查特貝克墜樓意外身亡, 促成他創作這首為喇叭與樂團的 哀痛 協奏曲 ( 紀念查特貝克,2004 年 ) 這首作品加上他的為長號與樂團的 末日經 (2002 年 ), 與為中音薩克斯風與樂團的 永恆之光 (2003 年 ), 組成了他的 安魂三部曲, 這個系列在 2004/05 樂季時首度完整演出 2007 年, 諾靈頓爵士指揮 26
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 斯圖加特廣播交響樂團演出 樂團協奏曲 的世界首演 ;2009 年時, 柏林音樂廳交響樂團在札格洛塞克的指揮下首演 代碼九 這首管絃作品的靈感來源是貝多芬 布魯克納與馬勒的第九號交響曲, 以及舒伯特的未完成交響曲, 這些作品中的慢樂章 佑斯特有兩齣歌劇是在 2005 年首演 : 第一齣是全本歌劇 惡毒 ( 四幕的殺機 ), 一月時在杜塞朵夫萊茵歌劇院上演 ; 第二齣是獨幕的 當死神來敲門 (2001 年 ), 五月時在埃爾福特劇院演出, 靈感來自於伍迪艾倫的同名諷刺短篇小說 佑斯特的大型 太空人遠征故事 鳳凰復活 在 2001 年時於中萊茵音樂時刻音樂會舉行首演, 由奧地利演員布蘭道擔任旁白 女高音奧爾絲參與演出 佑斯特在 2006 年初為類型音樂劇製作了正宗原創作品 為合唱 合唱獨唱家 器樂樂團與電影放映的合唱歌劇 焦慮 ( 探討焦慮本質的五種方法 ) 劇中講述的登山意外情節與對戲劇性事件的省思, 都是由合唱來表達 佑斯特在埃森劇院首演歌劇 阿拉伯之夜 (2007 年 ) 之後, 他就在 2008/2009 樂季, 為柏林喜歌劇院寫作音樂劇 哈姆雷特, 莎士比亞筆下的哈姆雷特辛苦地追尋知識與真理, 佑斯特則用次女高音與合唱的抗衡, 將之轉化成對人類存在意義的探索 2011 年柏林喜歌劇院再度委託佑斯特創作一部兒童歌劇 米克羅波里斯 2012 年, 佑斯特有兩部作品搬上舞台, 一部是根據著名小說 死亡甜香 改編, 由吉勒摩 亞里加所執導的 謠傳, 在比利時根特的法蘭德斯歌劇院上演, 另一部則是芭蕾舞劇 DnA- 愛的六面向 在奧地利格拉茲歌劇院上演 佑斯特在 2003 年獲得西門子基金會的鼓勵獎 他的歌劇 哈姆雷特 被 歌劇世界 雜誌的國際評審團選為 2009 年最佳世界首演 佑斯特還獲邀擔任眾多樂團的駐團作曲家, 如波昂貝多芬音樂廳 (1999/2000 樂季, 為樂團的 遊戲的終局 ) 威瑪德意志國立歌劇院 (2003/04 樂季, 為樂團的 繭交響曲 ),2004/05 樂季則在杜塞朵夫萊茵歌劇院 ( 惡毒 ) 與法茲愛樂管絃樂團 ( 安魂三部曲 的首演) 柏林喜歌劇院與多特蒙德劇院 (2008/09 及 2010/11 樂季, 哈姆雷特 ) 以及荷蘭愛樂與國家交響樂團 NSO (2012 / 13 樂季, 台北地平線 ) 27
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 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 Christian Jost was born on 17 October 1963 in Trier. He studied composition, analysis and conducting in Cologne with Bojidar Dimov from 1983 to 1988 and with David Sheinfeld at the San Francisco Conservatory of Music from 1988 to 1989. Jost received scholarships from the foundation Kulturfond des Deutschen Volkes and the artistic and cultural foundation of the federal state of North Rhine-Westphalia. Jost first caused a sensation in 1992 with the performance of his orchestral work Magma, a commission by the State Theatre Darmstadt. Between 1996 and 1998, he made regular visits to the People s Republic of China and undertook intensive cooperation with a variety of Chinese orchestras. In 1997, the piano concerto Der lange Weg des Drachen (rev. 2009) was premiered by the Shanghai Symphony Orchestra with Jost as the soloist. The orchestral work one small step (rev. 2002), a commission by the Deutsche Kammerphilharmonie Bremen was composed in 1999 to commemorate Neil Armstrong landing on the moon in 1969 and also reflects Jost s fascination for pioneering astronauts. The composer received further commissions from the Deutsche Symphonie Orchester Berlin, the Berlin Philharmonic, the Festival de la musique contemporaine Dijon and the Residentie Orkest Den Haag. The composer now also frequently makes appearances as a conductor, e.g. with the Bremer Philharmoniker, the Philharmonisches Staatsorchester Hamburg, the Essener Philharmoniker and the Oper Graz. Jost lives as a freelance composer and conductor in Berlin. The solo concerto is a core genre in Jost s oeuvre. A characteristic of his works is an orchestrally conceived atmospheric tonal density. Jost s compositional impulse primarily consists of the wish to acquaint the listener with the unknown, individualism and psychological borderline experiences in a fascinating guise. His intentions can frequently be divined by the titles of his works: TiefenRausch for violin and orchestra (1997), Cosmodromion for percussion and orchestra (2002) and Heart of Darkness ( Odyssee for clarinet and orchestra, 2007, commissioned by the Berliner Philharmoniker, conducted by Sir Simon Rattle). The tragic death of the jazz trumpeter Chet Baker is the subject of his concerto for trumpet and orchestra Pietà ( in memoriam Chet Baker, 2004). This work together with the compositions DiesIrae for trombone and orchestra (2002) and LuxAeterna for alto saxophone and orchestra (2003) form the Requiem-Trilogie a cycle which was performed complete for the first time during the season 2004/05. In 2007, Sir Roger Norrington conducted the RSO Stuttgart presenting the world premiere of Konzert für Orchester ; in 2009, the Konzerthausorchester Berlin premiered Jost s work CodeNine under the direction of Lothar Zagrosek. This orchestral work is based on the slow movements of 9th symphonies by Beethoven, Bruckner and Mahler and Schubert s Unfinished Symphony. 28
藝術群簡介 Creative Team Profiles 心經 Heart Sutra Two of Jost s operas received their first performance in 2005: the first full-length opera Vipern ( A murderous desire in four acts ) at the Deutsche Oper am Rhein in Du sseldorf in January and the first staged performance of the one-act work Death Knocks (2001) based on the satire of the same name by Woody Allen in the theatre in Erfurt in May. Jost s large-scale astronaut odyssey Phoenix ressurexit had already received its first performance in 2001 with Klaus Maria Brandauer as narrator and the soprano Christiane Oelze at the festival Mittelrhein Musik Momente. At the beginning of 2006, Jost produced a completely original contribution to the genre music theatre with his choral opera Angst ( 5 gateways of a journey into the interior of angst ) for chorus, choral soloists, instrumental ensemble and film projections. The plot and a reflection on the dramatic events of a mountaineering accident are exclusively communicated by the chorus. Following the premiere of the opera The Arabian Night (2007) at the theatre in Essen, Jost composed the musical drama Hamlet based on William Shakespeare for the Komische Oper Berlin during the season 2008/2009. Hamlet s painful search for knowledge and truth is transformed in the division of the principal role between the mezzo soprano and choral voices into the general existential underlying quest of human beings. Komische Oper commissioned a second opera in 2011, Mikropolis, an opera for children. In 2012, two stage works have been premiered: Rumor at the Vlaamse Opera Gent, based on the famous novel "Un dulce olor a muerte" ("The Sweet Scent of Death") by Guillermo Arriaga, and the ballet DnA - six images of love at Oper Graz. Jost received the Ernst von Siemens Foundation Encouragement Prize in 2003. His opera Hamlet has been elected 'World Premiere of the Year 2009' by an international jury of the magazine 'Opernwelt'. The composer received invitations to become Composer in Residence from the Orchestra of the Beethovenhalle in Bonn (1999/2000, The End of the Game for orchestra), the Staatskapelle Weimar (2003/04, CocoonSymphonie for orchestra) and in the season 2004/05 from both the Deutsche Oper am Rhein in Du sseldorf ( Vipern ) and the Staatsphilharmonie Rheinland- Pfalz (first performance of Requiem-Trilogie), as well as the Komische Oper Berlin and Theater Dortmund (2008/09 and 2010/11, Hamlet ), and the National Symphony Orchestra Taiwan and the Netherlands Philharmonic Orchestra (2012/13, Taipei Horizon ). 29
藝術群簡介 Creative Team Profiles 心經 Heart Sutra script and libretto 邱瑗 Joyce Y. CHIOU 2006-2010- 1987-95 2004-05 2004-06 2 2012 2010 2005 The Fantasticks 2004 Show Time! Following her rigorous studies for music education in Taiwan, Joyce CHIOU received training in music and drama from the University of Illinois and Northern Illinois University in the U.S. In the early 90s she produced and directed at the Taipei Arts Festival and the Taiwan Music Festivals many Western operas (both indoor and outdoor) such as La Traviata, The Marriage of Figaro, Tosca, Hansel und Gretel, Otello, Pagliacci, Mozart and Salieri, and Suor Angelica. Between 1987 and 1995, she set up the first ever opera workshop for professional singers for the National C.K.S. Cultural Center in Taiwan and has produced over two-dozen operas, children s theatre, and mega outdoor concerts. Joyce is currently the Executive Director of Taiwan Philharmonic, the National Symphony Orchestra in Taiwan since 2006. As a playwright, Ms. CHIOU s work includes Opera: Heart Sutra (in English, based on Eileen Chang s short story, 2012), and The Black Bearded Bible Man (in English & Taiwanese, 2010), and the Chinese musicals: The Fantasticks (Chinese version), and Women Needs Love, Not To Be Understood. Joyce is also active in theatre circles; she was the producer of the International Stagereading Festival in Taiwan in 2004 and 2005. Her writings include books A Beautiful Mistake-- Biography of Lee, Tai-Shan, Praised for Passion, Lived Without Regrets--Biography of Lee, Yung- Kang, a single volume of encyclopedia on Western musicals: From West End to Broadway, Show Time! 9 Styles of Musicals and Behind the Mask Phantom of the Opera. 30
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 女高音 soprano 黃莉錦 HUANG Li-chin 她的演出有著最真實的藝術家身分, 活潑的雲雀 他有著靈活 自然的聲音, 豐富及甜美的音色 ~Benito Pelegrin 旅法音樂家,2006 年以第一獎畢業於法國巴黎國立高級音樂院 CNSMDP, 在 2008 年拿到歐洲最高文憑 - 演奏家文憑 2006-2007 法國馬賽歌劇院 Opera Studio 成員 CNIPAL 2007-2009 年, 第十九及二十屆奇美藝術獎學金得獎者 2007 年獲第十屆馬賽歌劇聲樂國際大賽評審獎 2008 年獲第四屆 Jaume Aragall 國際歌劇聲樂比賽第二名 ; 並在巴塞隆納的音樂廳 le Palau de la Musica Catalana 與管弦樂團 l Orchestre Symponie del Valle 合作 2008 年獲選兩廳院樂壇新秀 2012-2013 獲邀與 NSO 及呂紹嘉指揮演出跨年音樂會 黃莉錦不僅活躍於法國音樂界 :Opera St.Etienne Cite de la Musique Opera Dijon Opera de Marseille Opera Besancon Theatres de Bordeaux Theatres D Avignon, 更是活躍於瑞士 :Theatre Biel 及 Theare Solothurn, 及義大利 :Verona TeatroFilarmonico 也很榮幸的與許多傑出的指揮合作 :Kurt MASUR,Laurence EQUILBEY Lucas VIS Theodor GUSCHLBAUER Andre BERNARD Alain ALTINOGLU Renee JACOBS Nicolai DE FIGUEREDO Sigiswald KUIJKEN Louis LANGRES She is a true artist. You think you re hearing a living nightingale. Her voice is agile and puts people at ease. Her timbre is rich, colored and fresh. ~Benito Pelegrin French Taiwanese singer HUANG Li-chin graduated from Conservatoire National Supérieur de Paris in 2006 with honors and received le cycle de perfectionnement in 2008, a highly acclaimed diploma in Europe. She studied at Centre National Professionnelle d Artistes Lyriques in Marseille for the season 2006-2007, as well as in the Opera-studio in Biel, Switzerland. She won the 19th and 20th Chimei Arts Awards scholarship and the Youth Jury Prize at the 10th International Opera Competition in Marseille in 2007. In 2008, she won the second place in the 4th Jaume Aragall international opera singing competition, and sung in the Palau de la Musica Catalana concert hall in Barcelona with l Orchestre Symponie del Valle. In the same year she was selected for the young star in music by National Chiang Kai Shek Cultural Center. She was invited to sing at the NSO s 2012-2013 New Year s Eve Concert, conducted by Maestro LÜ Shao-chia. HUANG Li-chin has appeared not only in the French music scene with Opera St. Etienne, Cite de la Musique, Opera Dijon, Opera de Marseille, Opera Besancon, Theatres de Bordeaux, and Theatres D Avignon, but also in in Switzerland with Theatre Biel and Theare Solothurn, and with Verona Teatro Filarmonico in Italy. She has had the honour to work with various outstanding conductors such as Kurt MASUR, Laurence EQUILBEY, Lucas VIS, Theodor GUSCHLBAUER, Andre BERNARD, Alain ALTINOGLU, Renee JACOBS, Nicolai DE FIGUEREDO, Sigiswald KUIJKEN, and Louis LANGRES. 31
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 女高音 soprano 林玲慧 LIN Ling-hui 1998 年畢業於國立台灣藝術專科學校音樂科, 師事陳榮光 李士民老師 2000 年留學義大利考入布雷夏國立音樂院 (Conservatorio Nazionale di Brescia) 聲樂組, 隨旅義女高音朱苔麗教授學習 2004 年以最高成績 嘉獎滿分 畢業 隨後繼續在該校攻讀聲樂 室內樂博士雙主修學位 (Biennio di Secondo Livello),2007 2011 年夏天再次以最高成績 嘉獎滿分 取得聲樂與室內樂博士文憑 多年參加 Verona Eximia Forma 歌劇工作坊與名歌劇導演 Erico Conforti 學習歌劇詮釋 畢業後曾受聘於布雷夏音樂院擔任朱苔麗教授聲樂助理並任合唱團聲樂指導, 其間也任教於 Brescia 市多所音樂學校的聲樂教師 旅義期間活躍於義大利樂壇, 屢次與音樂團體合作, 每每獲報章好評 歷年來是義大利當代名作曲家 G. Facchinetti P. Ugoletti D. Clapasson 的指定女高音, 曾為他們多次發表首演作品並灌錄唱片 曾任教於實踐大學音樂系, 現為國立台北教育大學音樂系專任助理教授以及私立輔仁大學音樂系兼任助理教授 國內重要演出 2011 / 10 / 09 10 NSO 主辦於國家音樂廳國慶音樂會 千人合唱 - 馬勒第八 擔任第二女高音 2012 / 01 與 NSO 交響樂團錄製 CD 錢南章四首原住民藝術歌曲 2012 /03 / 04 NSO 主辦 NSO 樂季 焦 點 燦爛奇彩與天地萬象 : 梅湘的音樂世界 2012 / 03/ 29 31 NSO 主辦普契尼歌劇音樂會 修女安潔莉卡 演出 2012 / 07 / 25-30 NSO 跨國歌劇 蝴蝶夫人 擔任女主角 蝴蝶 LIN Ling-hui went to Italy in 2000,was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italy-based Taiwanese soprano CHU Tai-li. In 2004, she graduated with honors-the highest score in the conservatory. Then she continued to study PhD programs of vocal music and chamber music in the same conservatory, and graduated in summer 2007 with honors again. She appeared in the Verona Eximia Forma, an opera workshop, for many years to study the interpretation of operas with opera director Enrico Conforti. Upon graduation, she was invited by the Conservatory as a vocal assistant to CHU and a vocal teacher at the school chorus. She also taught at some other conservatories in Brescia and conducted choruses. During her stay in Italy, she was active in the music community and received acclaims from the press for her numerous collaborations with music groups. 32
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 次女高音 mezzo-soprano 翁若珮 WENG Jo-pei 美國約翰霍普金斯大學琵琶蒂音樂院碩士, 師事 Stanley Cornett 2005 年獲第四屆建華愛樂古典菁英聲樂首獎 2007 年獲日本橫須賀第十二屆新聲歌唱大賽亞洲區優勝 2009 年獲選為高雄世運會主場開幕音樂會該場唯一台灣獨唱, 與匹茲堡交響樂團和維也納歌劇院合唱團演出貝多芬第九號交響曲 快樂頌 2012 年她獲國立台北藝術大學頒發傑出校友獎 她曾參與重要演出如馬斯卡尼歌劇 鄉村騎士 ; 浦契尼歌劇 修女安潔莉卡 強尼史基基 蝴蝶夫人 瑪儂. 雷斯柯 ; 漢普丁歌劇 韓賽與葛麗特 ; 華格納歌劇 尼貝龍根指環 ; 莫札特歌劇 魔笛 費加洛婚禮 ; 小約翰史特勞斯歌劇 蝙蝠 ; 韓德爾神劇 猶大馬加比斯 彌賽亞 所羅門 等, 並於金希文歌劇 黑鬚馬偕 及錢南章歌劇 畫魂 世界首演中擔綱演出 她經常受邀與許多著名樂團及合唱團合作, 包括台北榮光聖樂合唱團 樂興之時管弦樂團 台北市立交響樂團 國家交響樂團 國台交 台北愛樂合唱團 澳門交響樂團 匹茲堡交響樂團 等 In 2005, WENG Jo-pei received her Master of Music degree in Vocal Performance from the Peabody Conservatory of Johns Hopkins University in Baltimore, and won the first prize of the Young Artists Show Case from Bank SinoPac. WENG is also the winner of the 12th New Voice competition (Asia region) in Yokosuka Japan in 2007, and the sole Taiwanese singer invited by Pittsburgh Symphony Orchestra to perform Ode to Joy from Beethoven s Symphony No.9 at the opening concert of Kaohsiung World Game in 2009. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012. Her oratorio credits include performances with the Taipei Gloria Oratorio Choir, Moment Musical Orchestra, Taipei Symphony Orchestra and Taipei National University of the Arts, Peabody Institute, Baltimore Concert Singners. As an opera singer, Ms. WENG has performed the role of Principessa from Puccini s Suor Angelica, Zita from Gianni Schicchi, Suzuki from Madama Butterfly, and many other roles. 33
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 男高音 tenor 韓蓬 HAN Peng 男高音歌唱家, 上海歌劇院獨唱演員 2007 年以專業第一名的成績畢業於上海音樂學 院聲樂系, 並以優異的成績考入周小燕國際歌劇中心, 先後師從于陳星教授 周小燕教 授 2010 年 5 月, 獲得義大利 Riccardo Zandonai( 理查 贊道納伊 ) 國際青年歌唱家大賽 第一名 2009 年 1 月, 獲義大利維羅納 杜蘭朵 國際歌劇比賽第一名及聯合國教科文組 織特別頒發的 最佳音質獎, 曾在歌劇 卡門 杜蘭朵公主 鄉村騎士 楚霸王 群妖圍舞 那時花開 弄臣 等多部中外歌劇中擔任男主角, 並 獲邀參加上海世博會開幕式 國際短道速滑錦標賽開幕式等演出, 演唱足跡遍及義大利 MusicRivaFestival 音樂節 維也納金色大廳 臺北國家音樂廳 上海歌劇院等地 Tenor HAN Peng is the top soloist of Shanghai Opera House. He graduated top of his class from Shanghai Conservatory of Music in 2007, later studied with legendary Chinese opera professor ZHOU Xiao-yan. In 2009, he was awarded first prize at Italy s International Turandot Competition, then the first prize at Riccardo Zandonai International Competition for Young Opera Singers the next year. He has performed in Wiener Musikverein, Shanghai Opera House and Taipei National Concert Hall. HAN Peng was the soloist for various acclaimed productions, including Bizet s Carmen, Puccini s Turandot, Mascagni s Cavalleria Rusticana, JIN Xiang s The King of Chu, Puccini s Le Villi, Justin Jia s Time of Blossom, as well Verdi s Rigoletto, and has participated in the opening ceremony of Shanghai World Expo. 34
藝術群簡介 Creative Team Profiles 心經 Heart Sutra 鋼琴排練 repetiteur 謝欣容 HSIEH Hsin-jung 國立藝術學院 ( 現國立台北藝術大學 ) 畢業後, 赴奧地利隨 David Lutz 教授繼續深入學 習聲樂伴奏藝術,1999 年取得國立維也納音樂大學之 聲樂伴奏家 文憑 2001 年受邀擔任維也納現代音樂節中, 中國作曲家郭文景歌劇作品 夜宴 之歌劇伴 奏 2002-2003 年受聘為俄國聖彼德堡馬林斯基劇院青年歌唱家學院 (Mariinsky Academy for youngsingers) 專任伴奏 2002 年獲國際林姆斯基 - 高沙可夫聲樂大賽 最佳伴奏 獎 2008 年獲台北德文藝術歌曲大賽 最佳伴奏 獎 2010 年受聘擔任國家交響樂團年 度歌劇 台灣作曲家錢南章歌劇 畫魂 的鋼琴排練 2008 2009 2011 2012 年受邀 為兩廳院歌劇工作坊擔任鋼琴排練與音樂會現場演出 2005 年起陸續任職於國立實驗合唱團 國立台北藝術大學音樂系 國立台灣藝術大學 音樂系 台大合唱團等 After graduating from Taipei National University of the Arts, HSIEH Hsin-jung had studied with Professor David Lutz in Austria on Piano Accompaniment, and had in 1999 received her diploma on Piano Accompaniment from Universitaet fu r Musik und darstellende Kunst Wien. She was the repetiteur for Chinese composer GUO Wen-jing s opera The Night Banquet at Wien Modern 2001, and was the repetiteur at Mariinsky Academy for Young Singers in 2002-2003. She won the Best Accompaniment Award at the International Rimsky-Korsakov Competition in 2002. HSIEH Hsin-jung has worked with such prestigious groups such as Taiwan National Choir, Department of Music at Taipei National University of the Arts and National Taiwan University of the Arts, and had participated in the production of La Peintre by Taiwanese composer CHIEN Nanchang, both as repetiteur and in performance. 35
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City 作曲暨指揮 composer & conductor 鍾耀光 CHUNG Yiu-kwong 臺北市立國樂團團長 鍾耀光是目前台灣最知名與最活躍的作曲家 作品具有濃厚的中國哲學思想與豐富情感, 受到世界各地樂迷喜愛 作品涵蓋前衛大型交響樂 管樂團合奏 國樂 傳統戲曲 音樂劇到新世代 (New Age) 風格的小品 2010-2011 年為國際著名打擊樂家 Evelyn Glennie 長號名家 Christian Lindberg 薩克斯風名家 Claude Delangle 大提琴家 Mischa Maisky 與 Anssi Karttunen 美國知名弦樂四重奏 Kronos Quartet 創作協奏曲,2010 年為世博台灣館 4D 電影 自然城市 創作配樂 2011 年 5 月法國薩克斯風名家 Claude Delangle 錄製的第一與第二號薩克斯風協奏曲, 由瑞典 BIS 唱片公司錄音並全球發行 2008 年 9 月瑞典長笛名家 Sharon Bezaly 在台北市世界首演寫給長笛與國樂團的 胡旋舞,2009 年與另一首長笛與國樂團的作品 長笛協奏曲 由瑞典 BIS 唱片公司錄音並全球發行 2000 年 3 月, 大型國樂團作品 永恆之城 在香港奪得香港中樂團 21 世紀國際作曲比賽原創組冠軍 管樂團作品 節慶 被收錄在 1995 年與 1997 年世界管樂節紀念 CD 中, 並在 1997 年世界管樂節中大放異彩, 演出後立即與維也納著名出版社 Musikverlag Johann Kliment 簽約出版, 現今已成管樂團的經典曲目 二首具創意與充滿活力的小品 大地之舞 與 草蟆弄雞公 由馬友友擔任大提琴獨奏, 收錄在台灣 SONY 唱片公司發行的 超魅力馬友友 專輯中 1991 定居台灣後積極從事創作, 作品開始在國際重要藝術節如布達佩斯之春 布拉格之春 國際現代音樂節 上海藝術節 亞洲作曲家聯盟大會與國際管樂節中演出 1995 年根據易經 64 卦的卦象 卦形與順序自創作曲系統 周易樂法, 為結合中國陰陽哲學觀與西洋音集理論及線性延伸理論提供富創意的方向 踏入 1997 年後, 無數國內外委託創作及與馬友友 林昭亮 吳蠻 姜克美 大提琴巨星 Mischa Maisky Anssi Karttunen 打擊名家 Evelyn Glennie Keiko Abe PercaDu 長笛名家 Sharon Bezaly Pierre Yes Artaud 薩克斯風名家 Christian Wirth Claude Delangle 希臘吉他名家 Eva Fampas 法國 Quatuor Diastema 薩克斯風四重奏 Kronos String Quartet 等國外名家合作更顯示其作品漸受國際樂壇重視 36
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City 最近發行的 DVD/CD 包括臺北市立國樂團發行的 土地情懷 CD TCO 三十週年套裝 CD 航向新世界 快雪時晴 與 城市交響曲 DVD 瑞典 BIS 唱片公司全球發行的 行雲 氣韻 與 胡旋舞 鍾耀光 1956 年生於香港, 就讀於費城演藝學院及紐約市立大學, 主修打擊樂, 師從 Nicholas D'Amico Morris Lang, 並跟隨 Leigh Howard Stevens Keiko Abe 學習木琴 1980 年至 1986 年任香港管弦樂團打擊樂副首席 鍾耀光從小自學作曲, 直到 1986 以 兵車行 榮獲美國打擊樂協會作曲比賽冠軍後考進紐約市立大學研究所攻讀打擊樂演奏與作曲博士課程, 作曲師從 Robert Starer 與 David Olan 1987 榮獲美國路易維爾交響樂團 50 週年紀念獎 1991 獲打擊樂演奏博士學位, 博士論文 亨策 冰國五景 之理論與演奏分析 榮獲紐約市立大學巴瑞普年度最佳論文獎,1995 獲作曲博士學位 現任國立臺灣藝術大學音樂學系專任教授,2007 年 3 月起任臺北市立國樂團團長 2012-2013 年, 逐步加強指揮事業, 只安排少量時間創作, 委約創作包括 : 吹打樂 獅吼龍騰 ( 香港演藝學院委託,2012) 笙協奏曲 匏樂 ( 香港中樂團委託,2012) 火熱的心 ( 嘉義市國際管樂節委託,2012) 傾城之戀 ( 兩廳院委託,2013) 裂 ( 為北市國國際打擊樂比賽創作,2013) 二胡華麗炫技曲 ( 為北市國創作,2013) T.A.I.P.E.I. 臺北六部曲 ( 為北市國創作,2013) "The two concertos by CHUNG Yiu-kwong, with their almost shocking array of colors, will be most immediately appealing." ~Raymond Tuttle, FANFARE "Chung Yiu-kwong has the group playing with fine ensemble qualities, and the orchestra's timbres are familiar enough to be immediately assimilable, but different enough to be intriguing." ~David Hurwitz, Classics Today "It has a gorgeous sound, and conductor CHUNG Yiu-kwong coaxed a wide range of dynamic contrasts and emotions from the group." ~Jon Ross, ArtsCriticATL.com "A master storyteller, Chung writes with a bold expressiveness that could come across as phony- yet it does not...this is a name to watch for." ~Ruth Wilson, wasbe.org 37
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City General Director, Taipei Chinese Orchestra.CHUNG Yiu-kwong is Taiwan's best known and most often performed composer. His music, distinguished by its profound Chinese philosophical background and expressive range, has won large and enthusiastic audiences all over the world. He has written for every conceivable type of music ranging from the grandest orchestral work, Chinese opera, musicals, to the most intimate piece in New Age style. Recent commissions include a new Opera Meng Xiaodong, Concerto for String Quartet and Chinese Orchestra dedicated to Kronos Quartet, Trombone Concertino Recuillement dedicated to Christian Lindberg, 2nd Saxophone Concerto dedicated to Claude Delangle, Mongolian Fantasy for Cello and Chinese Orchestra to Mischa Maisky. The percussion concerto for Taipei 2009 Deaflympics was world-premiered by Evelyn Glennie and will be released under BIS label in 2012. Two saxophone concerti with Claude Delangle as soloist were released under BIS label in May 2011 in addition to the flute concerto and Whirling Dance dedicated to Sharon Bezaly released in April 2009. In March 2000, The Eternal City for Chinese Orchestra captured the 1st prize of the 21st Century International Composition Competition held by the Hong Kong Chinese Orchestra. His another 1st-prize winning chamber work in 1986, Chariots Ballad for Solo Marimba and 7 Percussionists, quickly becomes the percussion ensemble classic. Festive Celebration for Wind Orchestra, now published by Musikverlag Johann Kliment KG in Vienna, has been performed by many orchestras throughout the world and is recorded on the 7th and the 8th WASBE Conference CD sets. His two bold and energetic pieces Dance of the Earth and Taiwanese Children Song, performed by cellist Yo-Yo Ma, are recorded on SONY-Taiwan's Super Charm Yo-Yo MA Album. He received his Doctoral of Musical Arts (D.M.A.) degree in percussion in 1991 and Ph.D. degree in composition in 1995 from the Graduate Center, City University of New York. His D.M.A. dissertation Hans Werner Henze's Five Scenes from the Snow Country: An Analysis (available at UMI Dissertation Information Service) was granted the Barry Brook Dissertation Award. In 1995, based on structures, orderly sequence, and symbolism of the 64 hexagrams, Chung invented I-Ching Compositional System (ICCS) which is now regarded as the most successful exemplar of integrating fundamental Chinese Yin-yang philosophy into Western contemporary compositional and analytical theories. 38
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City 二胡 erhu 王銘裕 WANG Ming-yu 二胡啟蒙於翁自得與林江山老師 1992 年畢業於中國文化大學音樂系國樂組, 師事臺灣二胡耆老李鎮東先生 旋入中國文化大學藝術研究所深造,1995 年取得藝術學碩士, 得著名音樂學者韓國鐄教授指導, 撰有論文 二胡獨奏音樂之風格探討 王君演奏足跡遍佈歐 亞 美 非 澳五大洲近三十國 曾於 亞太音樂節 臺北市傳統藝術季 香港 中港台二胡名家之夜 臺北胡琴節 徐州 國際胡琴藝術節 亞太傳統藝術節 北京 兩岸城市藝術節 二胡名家在臺北 廣東 亞洲音樂節 臺北國樂節 等音樂盛會中演出獨奏及協奏 2001 年與維也納史特勞斯節慶管絃樂團合作演出 梁祝, 並錄製第一個二胡與小提琴雙協奏版本, 由金革唱片公司全球發行 文建會 2003 年民族音樂創作獎 二胡協奏曲組 決賽音樂會中首演第一名作品 西秦王爺 ( 陸橒作曲 ), 並錄製 CD 發行 2009 年推出二胡演奏專輯 思想起 弓弦之間王銘裕雋永的胡琴詩篇, 喜馬拉雅唱片公司發行 王君樂如其人, 其音樂表現細膩而深刻, 舞台展現優雅而謙沖, 獲得極高評價 2011 年, 其所使用的二胡已獲邀典藏於世界首座以胡琴為主題的 中國胡琴藝術博物館 於中國徐州 Known for his moving performance and graceful stage presence, WANG Ming-yu is one of the most sought-after erhu soloist of our times. He began his music study with LIN Chiang-san, later graduated from Chinese Culture University s Department of Music, studying Chinese music with famous Taiwanese erhu master LEE Chen-tung. In 1995 he received his master of arts at Chinese Culture University s Graduate Institute of Art under the guidance of musicologist HAN Kuo-huang. The erhu he used has been invited to join the collection of Chinese Hu-qin Art Museum in Xuzhou, the first of such institution dedicated to the performance of preservation of erhu. WANG Ming-yu has performed in over 30 countries across Europe, Asia, America, Africa and Australia. He has performed both as soloist and in recital in numerous events and festivals, including Asian Composers League Conference and Festival, Taipei Traditional Arts Festival, Taipei Huqin Festival, Trans-Chinese Art Festival in Beijing, International Hu-qin Festival in Xuzhou, Asia Traditional Arts Festival, Taipei Chinese Music Festival and many more. In 2001, WANG performed the Butterfly Lover Concerto with Vienna Strauss Festival Orchestra, after which he recorded the world premiere version of the work using violin and erhu. 39
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City 高胡 gaohu 王薇 WANG Wei 國立台灣藝術大學中國音樂學系碩士班學生, 二胡師事 : 蘇晏永 故丁魯峰 彭苙榳 蕭白鏞 張舒然 林昱廷等老師 重要演出 : 2004 年 : 於高雄市至德堂演出 陜北抒懷 2007 年 : 於高雄市至德堂演出 天山風情, 同年與劉江濱老師合作演出 燕子 2008 年 : 台中市中興堂演出 第一二胡協奏曲 第三樂章 2010 年 : 於國立台灣交響樂團音樂廳演出 長城隨想曲 第三 四樂章 2011 年 : 於台灣藝術大學福舟表演廳舉辦個人畢業音樂會 同年與鍾耀光老師合作演出二胡協奏曲 快雪時晴 獲獎紀錄 : 2005 年 : 全國音樂比賽高中 A 組南胡獨奏第二名 2007 年 : 全國音樂比賽大專 A 組南胡獨奏第一名, 同年獲選為台藝大國家演奏廳新秀 2011 年 : 臺北市立國樂團精英盃二胡大賽第三名 Postgraduate student in the Chinese Music Department at National Taiwan University of Arts, learning Erhu with masters SU Yen-yong, the late DING Lu-feng, PENG Li-ting, XIAO Bai-yong, CHANG Shu-jan, and LIN Yu-ting. Major Performacnes: 2004 The Shanbei Cantabile at Jhihde Hall in Kaohsiung. 2007 The Charm of Heaven Mountain at Jhihde Hall in Kaohsiung; with Master LIU, Jiang-Bin - The Swallow. 2008 Erhu Concerto No.1, the 3rd Movement at Chung Hsing Hall in Taichung City. 2010 Capriccio Great Wall, the 3rd and 4th Movements at National Taiwan Symphony Orchestra Music Hall 2011 Graduation solo concert in Fu Zhou Performance Hall at the National Taiwan University of Arts; Erhu Concerto Sunlight After Snowfall with composer CHUNG, Yiu-Kwong. Awards and prizes: 2005 Second place in nanhu performance at the National Music Competition, senior high A group. 2007 First place in nanhu solo at the National Music Competition, college A group; Young Star at Performing Arts Center, National Taiwan University of Arts. 2011 Third place in Erhu performance at Taipei Chinese Orchestra s Elite Cup Competition 40
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City 十方樂集 Forum Music Percussion Ensemble 十方樂集 由知名的打擊樂家徐伯年創立於 1996 年, 以 推動精緻藝術與現代音樂 為宗旨 為表現不同型態的現代音樂, 十方樂集 的編制包含 十方樂集打擊樂團 和 十方樂集室內樂團, 尤其 十方樂集打擊樂團 可以說是 十方樂集 詮釋現代音樂的靈魂 1996 年成團之初, 十方樂集打擊樂團即應文化建設委員會的邀請赴紐約市紐約文化中心, 代表台灣音樂界演出四場音樂會, 獲得佳評 紐約時報以大篇幅報導, 給予 : 令人流連回味的優雅, 富含情感的印記, 無論在技巧和質地上都活力十足 (Hauntingly graceful and emotionally searing; virtuosic and texturally invigorating) 的評價 十方樂集的團員目前都活躍於國內外樂壇, 更有多位國際演奏大獎得主, 例如陳玟玎 黃綉丹 鍾友蓉都曾獲得國際重要音樂大賽獎項 2003 年, 團員黃皚雲獲得日內瓦國際音樂大賽擊樂首獎, 成為第一位在這項國際大賽中獲得首獎的華人音樂家 多位團員也都是國外學成歸國, 以精湛的演出技巧和深刻的音樂素養投入國內音樂推廣的行列 十方樂集擅長詮釋當代作曲家的創作, 並大膽嘗試實驗性音樂作品, 開拓聽眾音樂視野 創團至今, 已為多位國內作曲家之作品舉行世界首演,2002 年更受邀在國家戲劇院, 參與諾貝爾文學獎得主高行健編導之三幕歌劇 八月雪 舉行的全球首演, 擔任打擊樂演出的重任 2002 年起, 十方樂集將多年展演國人作品的心得付諸 國人作品出版計畫, 陸續出版 台灣現代音樂集( 一 ) 意象繽紛 台灣現代音樂集 ( 二 ) 當代風華 台灣現代音樂集 ( 三 ) 春華秋水 台灣現代音樂集 ( 四 ) 聲動 等影音專輯, 收錄包括盧炎 馬水龍 潘皇龍 吳丁連 李泰祥 賴德和 楊聰賢 鍾耀光 洪崇焜 陳玫琪 趙菁文 李元貞等作曲家的作品 除了連續入圍歷屆金曲獎最佳專輯外, 徐伯年並於 2007 年榮獲金曲獎傳統暨藝術類最佳製作人 2009 年並以 聲動 專輯獲得金曲獎最佳專輯 最佳作曲家獎 未來, 十方樂集將持續演出推廣及保存整理國人作曲家的作品, 以建構台灣現代音樂展演及資料中心為目標努力 41
藝術群簡介 Creative Team Profiles 傾城之戀 Love in a Fallen City Forum Music, which has been named one of the outstanding cultivation teams by the Council for Cultural Affairs every year since 2000, was founded in 1996 by renowned percussionist HSU Bor-nien. Forum Music was founded on the philosophy of promoting the fine arts and modern music. The performing format of Forum Music is mainly percussion and chamber music, and the Forum Music Percussion Ensemble can be said to best represent the soul of Forum Music s take on modern music. Shortly after its establishment in 1996, the Forum Music Ensemble was invited by the Council for Cultural Affairs to represent Taiwan by giving four concerts at the New York Cultural Center. The Ensemble s performances were widely praised; the New York Times gave considerable coverage to the concerts, describing the Forum Music Ensemble s music as hauntingly graceful and emotionally searing; virtuosic and texturally invigorating. The members of the Forum Music Percussion Ensemble are all outstanding musicians that are active in Taiwanese and foreign music circles, and they include several recipients of international music performance awards. For example, WANG Hsiao-yin, CHEN Wen-ting, HUANG Hsiu-tan, and ZHONG You-rong have all won important international music contest prizes. Huang, Ai-yun received the top percussion prize in the 2003 Vienna International Music Contest, becoming the first Chinese musician to receive a top prize in this international contest. Many members studied abroad and then returned home with their refined performance skills and profound musical cultivation to help promote music in Taiwan. In 2002, the ensemble was invited to perform the important role of percussion performance in the world premiere of Snow in August, a three-act opera written and directed by Nobel Prize laureate GAO Xing-jian, at the National Theatre. The group was invited to perform as part of Canada s Taiwanese Culture Festival in 2004, and Hong Kong s fist Taiwan November arts festival in 2006, introducing Taiwan s modern music to an international audience. As Taiwan s top modern music group, the Forum Music Percussion Ensemble excels at interpreting the works of contemporary composers and boldly taking on experimental works. In addition to regularly scheduled performances, the ensemble also collaborates with composers to create new percussion works. Besides the performance of works that the general audience are familiar with, they also strive to introduce works by contemporary composers from Taiwan and overseas, broadening the musical horizons of the audience in Taiwan. Since the ensemble was founded, they have performed many world premiers of works by Taiwanese and foreign composers, and have introduced classic pieces of many famous foreign composers to Taiwan, setting off brilliant sparks in the interchange between Eastern and Western music. 十方樂集演出團員名單 Forum Music Percussion Ensemble Musicians 黃雅綾 HUANG Ya-ling 黃莉雅 HUANG Li-ya 孫名箴 SUEN Ming-jen 黃綉丹 HUANG Hsiu-tan 42
樂團簡介 Orchestra Profile 自信而精銳國家交響樂團 National Symphony Orchestra 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 ( 艾蕾克特拉 中 ) 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, 特別是馬勒第五的第三樂章, 彷彿是用宗教儀式將折磨著前兩章的靈魂昇華了 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, 波濤澎湃之中韻律感十足, 呂紹嘉和樂手們的互動幾乎到了水乳交融的的境界 ( 他與 ) 台灣愛樂在廣州的演出, 散發出來的吸引力, 是一種對藝術美好的追求 亞洲週刊 2010/12 馬勒第十號交響曲的慢板是很棒的演出, 呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素 NSO 的荀貝格改編自布拉姆斯 G 小調絃樂四重奏的管絃樂演奏則是光芒四射, 叫人嘆為觀止 英國 留聲機 雜誌 2009/09 交響樂團在每個國家有不同的形成背景, 在沒有西方管絃樂傳統的台灣, 過去樂團都以文化教育體系營運 經過二十多年耕耘, 我們可以驕傲的說, 國家交響樂團 (NSO), 從交響樂 室內樂到歌劇, 是一自信 精銳, 有文化意識的台灣藝術代表團隊 國家交響樂團的前身 聯合實驗管絃樂團, 是教育部於 1986 年集合優秀新生代音樂家, 以打造頂尖交響樂團為目標所成立 2005 年成為國立中正文化中心附設團隊, 以 台灣愛樂 立足國際 歷任常任指揮為 Gerad Akoka Urs Schneider 及音樂總監包括許常惠 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 (Gu nther 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 二十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 穆勒 - 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 43
樂團簡介 Orchestra Profile 攝影 Raymond Huang 44
樂團簡介 Orchestra Profile National Symphony Orchestra 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, especially in the third movement of Mahler s Symphony No. 5, a writhing, almost religious exorcism of the spirits that torment the first two movements. - American Record Guide 2011/01 Shao-Chia Lü dealt with the second and third movements of Mahler s No.5 in an extra-delicate way where the conductor and the musicians interacted in perfect harmony, producing melodic dynamics in a powerful delivery. Lü and Taiwan Philharmonic s concert in Canton surely presented a pursuit of artistic fineness. - Asia Weekly 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 offered a liltingly respectable upstaged by an utterly dazzling performance of Brahm s Piano Quartet in G minor arranged by Schoenberg. - Gramophone 2009/09 Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation s center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lu as its 5th music director starting August 2010, the NSO has increased the country s cultural richness and music educational strength throughout Taiwan. The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Yo-Yo Ma, Gautier Capucon, Alban Gerhardt, Misha Maisky, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-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 semistage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009) and Madama Butterfly (Opera Australia, 2012). 45
樂團簡介 Orchestra Profile NSO 演出團員名單 NSO Musicians 第一小提琴 First Violin 吳庭毓 WU Ting-yu 陳逸農 CHEN Yee-nong 第二小提琴 Second Violin 李庭芳 LEE Ting-fang 賴佳奇 LAI Chia-chi 李家豪 LEE Chia-hao 陳怡茹 CHEN Yi-ju 陳偉泓 CHEN Wei-hong 康信榮 KANG Hsin-jung 王致翔 WANG Chih-hsiang 中提琴 Viola 黃瑞儀 Grace HUANG 大提琴 Cello 呂昭瑩 LU Chao-ying 蔡秉璋 TSAI Ping-chang 低音提琴 Double Bass 呂孟珊 LU Meng-san 熊士蘭 Lana HSIUNG 打擊 Percussion 黃日昇 HUANG Jih-sheng 豎琴 Harp 傅永和 FU Yung-ho 連珮致 LIEN Pei-chih 陳哲輝 CHEN Jer-huei 解瑄 CHIEH Shuen 46
藝術群簡介 Creative Team Profiles 導演 director 黎煥雄 LI Huan-hsiung 河左岸劇團 創作社劇團創始成員 現任人力飛行劇團藝術總監, 及台灣師範大學表 演藝術研究所及大學部表演學程兼任副教授 在八零年代台灣小劇場運動中, 以其文學 創作之深厚基礎, 開創河左岸劇團詩化意象劇場, 以低限內斂 濃烈文學質感語言的殊 異風格, 咸認為臺灣第二波劇場新潮的中堅份子 近期主要劇場作品 : 人力飛行劇團 TIFA 台北爸爸紐約媽媽 幾米音樂劇 - 地下 鐵 2012 重返 星之暗湧 2011 幾米音樂劇 向左走向右走 ( 劇場巡迴版 ) ( 北京 / 廣州亞運藝術節 ) 在棉花田的孤寂 ( 國際劇場藝術節 ) 浮世情話 幾米音樂劇 -- 向左走向右走 ( 台北藝術節 ) 幾米音樂劇 幸運兒 幾米音樂 劇 地下鐵 銀河鐵道之夜 ( 文建會科技與表演藝術結合旗艦計畫 ) NSO 國家 交響樂團歌劇 貝里尼 : 諾瑪 華格納 : 尼貝龍指環 理查史特勞斯 : 艾蕾克 特拉 河左岸劇團 彎曲海岸長著一棵綠橡樹 ( 河左岸的契訶夫 ) ( 台新藝術獎年 度決選 ) 星之暗湧 2000 ( 中時娛樂週報年度十大 ) 創作社 夜夜夜麻 等 A founding member of the Rive-Gauche Theatre Group and Creative Society Theatre Company, LI is currently Artistic Director at Mr. Wing Theatre Company, as well as part-time lecturer at the Graduate Institute of Performing Arts, National Taiwan Normal University. In the Little Theatre Movement of 1980s Taiwan, LI established the Rive-Gauche as a theatre of poetic imagery with his rich background in creative and literary writing. He made his name in the Second Theatre Wave by his unassuming, minimalist style that is characterized by a profound sense of literature. LI s recent works in theatre include: Mr. Wing Theatre s Taipei Dad, New York Mom, featured in the 2013 TIFA, Jimmy's Subway: a musical--2012 Revisit; Jimmy's Turn Left, Turn Right: a musical (black box version, featured in the Asian Games Art Festival in Beijing/Guangzhou); Dans la Solitude des Champs de Cotton (2010 International Theatre Festival); Speaking in Tongues; Jimmy's Mr. Wing: a musical; Night on the Galactic Railroad; Vincenzo Bellini s Norma, Wagner s The Ring Without Words and Richard Georg Strauss s Elektra with the NSO; Rive-Gauche Theatre Group s A Greek Oak Grows in a Curved Coast (Taishin Arts Award); Creative Society s The Machong Game. 47
藝術群簡介 Creative Team Profiles 舞台設計 stage designer 張維文 CHANG Wei-wen 專業舞台設計, 美國印第安那大學戲劇研究所藝術創作碩士 (Master of Fine Arts) 曾任 2003 年布拉格四年展 (PQ 03) 台灣館 戲園觀景 策展人及展場設計, 榮獲國家館 特殊銀牌獎 2003 年巴西 Palacio das Artes 表演藝術中心交換藝術家 1990 年美國國家藝術基金會年度青年舞台設計獎 旅美期間, 曾於華府甘迺迪表演藝術中心 (Kennedy Performing Arts Center) 為華盛頓芭蕾舞團設計現代芭蕾舞作 並曾任職於華府圓形劇場及丹佛表演藝術中心駐院舞台設計 2005 年 -2009 年獲選為 OISTAT 國際劇場組織總會副會長,2006 年 -2012 年擔任該組織執行長 作品七十餘齣, 涵括傳統戲曲 芭蕾 戲劇 歌舞劇 莎士比亞戲劇 現代舞 音樂劇場 晚會典禮 電視節目等不同的表演藝術形式, 於美國 大陸 香港 歐洲等地演出 並多次參與國內外聯展, 包括 2003 2007 年 布拉格舞台美術與劇場建築四年展 日本東京劇場藝術展 華人地區傳統戲曲暨現代劇場視覺藝術展 等 CHANG Wei-wen received her M.F. A. degree from Graduate School of Theatre and Drama, Indiana University, U.S.A. and has worked as professional scenographer since. CHANG Wei-wen was the award winning curator and exhibition designer for The Landscape National Exhibition of Taiwan at Prague Quadrennial 2003. She has won the Special Silver Medal for Taiwan among more then 50 countries. CHANG Wei-wen was visiting artist in 2003 to the Palacio das Artes Performing Arts Center in Brazil and the recipient of Scenic Arts Award from the National Endowment for the Arts, U.S.A. in 1990. During her stay in the States, CHANG Wei-wen had her professional debuted design at Washington D.C. s Kennedy Performing Arts for Washington Ballet in 1991. Wei-wen had worked at Arena Stage, Washington D.C., and served as the associate designer for the Denver Performing Arts Center. Wei-wen was the elected Vice President of OISTAT (2005-2009) and worked as OISTAT Executive Director from 2006 to 2012. Wei-wen has designed more than 70 productions for drama, musical, modern dance, opera, ballet, Chinese opera, Taiwanese opera etc. Her worked had been seen in U.S.A., China, Hong Kong, and Europe. Wei-wen s designs have been exhibited at Prague Quadrennial 2007 and 2003 in Czech Republic as well as in Tokyo, Japan and Taiwan. 48
藝術群簡介 Creative Team Profiles 燈光設計 lighting design 李俊餘 Kevin LEE 聚光工作坊負責人 台灣技術劇場協會常務理事 國立中山大學劇場藝術學系講師 專職於劇場營運管理與燈光設計, 燈光設計作品共百餘部, 不勝枚舉 燈光設計作品 : 綠光劇團 領帶與高跟鞋 結婚結昏 同學會 黑道害我真命苦 青春小鳥 女人要愛不要懂 都是當兵惹的禍 PROOF 求證 人間條件一 人間條件二-- 她與她生命中的男人們 人間條件三- 台北上午零時 人間條件四 - 一樣的月光 台灣文學劇場- 清明時節 人間條件五 - 男性本市漂泊的心情 紙風車劇坊 太陽之國歷險記 貓捉老鼠 銀河天馬 台北市立交響樂團 波西米亞人 蝴蝶夫人 茶花女 鄉村騎士 丑角 唐喬凡尼 魔笛 糖果屋 強尼史基基 MANON LESCAUT 弄臣 AIDA 台北歌劇劇場 唐吉軻德與布偶 蘇珊納的秘密 後宮誘逃 斷頭台上的修女 Idomeneo Lucia di Lammermoor 國家交響樂團 崔斯坦與伊索德 NORMA FIREBIRD 華格納 RING 蝙蝠 ELEKTRA 國立國光豫劇團 慈禧與珍妃 海玲 50- 梆子姑娘 河洛歌仔戲團 彼岸花 台灣我的母親 太子回朝 唐美雲歌劇團 大漠胭脂 添 記 龍鳳情緣 榮華富貴 無情遊 桂郎君 金水橋畔 錯魂記 黃虎印 蝶谷殘夢 宿怨浮生 仁者無仇 大願千秋 鄭榮興採茶客家戲團 喜脈風雲 花燈姻緣 丹青魂 乙未丹心 大隘風雲 楊門巧媳 雙花緣 台北市立國樂團 禮讚千里佛 梁山伯與祝英台 新古典舞團 E 世代國際舞壇崢嶸 尋找失去的舞跡重建唐樂舞文明 唐樂舞 團亂璇 2004 曹丕與甄宓 青春之歌 民國四十六年 春之際 感恩 揮劍烏江冷 President at Hispot Inc. Standing board member at Taiwan Association of Theatre Technology Lecturer at Department of Theatre Arts, National Sun Yat-sen University Professional theatre manager and lighting designer 49
藝術群簡介 Creative Team Profiles 影像設計 visual designer 周東彥 CHOU Tung-yen 倫敦中央聖馬丁藝術暨設計學院, 劇場與多媒體碩士 (MA Scenography) 國立臺北藝術大學戲劇學系畢業 現為狠主流多媒體有限公司負責人 國立臺北藝術大學戲劇學系兼任講師 2008 年獲文化部補助赴巴黎 Cité 藝術中心駐村 創作以影像及劇場為核心, 影像作品四度入圍台北電影獎及參與國內外重要影展 近年則與台灣表演藝術團體合作頻繁且面向多元, 曾經合作單位包括 : 表演工作坊 臺灣戲劇表演家 果陀劇場 台南人劇團 飛人集社 莎士比亞的妹妹們的劇團 人力飛行劇團 國家交響樂團 稻草人舞團 驫舞劇場 臺北市立國樂團 黑眼睛跨劇團 同時亦致力於科技表演藝術跨域創作, 成績斐然 導演作品 寫給記憶的七封信 入選 2008 年國藝會 新人新視野 專案補助 ; 空的記憶 榮獲 2011-2012 年文化部 表演藝術團隊創作科技跨界作品 之補助 並主編兩屆數位表演藝術節專書 跨域控 Currently a lecturer teaching in the School of Theatre, Taipei National University of the Arts, CHOU Tung-yen graduated from Central Saint Martins College of Art and Design with an MA in Scenography. He was one of the artists-in-residence at the Cite Internationale des Arts in Paris in 2008. As Director of Very Mainstream Studio, CHOU works mainly in image and theatre arts. His film and video works have been nominated and participated in various international film festivals. Recently he has collaborated closely as well as diversely with many of Taiwan s performing arts groups including Performance Workshop, Godot Theatre Company, Tainaner Ensemble, Flying Group Theatre, Shakespeare s Wild Sisters Group, Taiwan Drama Performance, Dark Eyes Performance Lab, Scarecrow Contemporary Dance Company, Horse Dance Theatre, National Symphony Orchestra and Taipei Chinese Orchestra. In addition, CHOU has also done excellent work in interdisciplinary creative projects incorporating technology with performing arts. His recent interdisciplinary work Emptied Memories received sponsorship by the R.O.C Ministry of Culture. He was editor in chief for two editions of Digital Performance Festival s official publication. 影像設計製作團隊 visual design team 林伯勛黃偉軒王博彥 LIN Po-hsun HUANG Wei-hsuan WANG Po-yen 50
藝術群簡介 Creative Team Profiles 服裝設計 costume design 謝介人 Jerry HSIEH 美國紐約服裝設計學院 (F.I.T.) 服裝設計系畢業 曾任職於紐約 Bill Blass 高級時裝公司 並參與多部外百老匯舞台劇之服裝造型設計 近期在台灣的舞台服裝設計作品包括 逆 旅 迷離劫 百衲食譜 玉茗堂私夢 浮世情話 沙灘上的腳 印 少年金釵男孟母 戰 不三不四到台灣 給普拉斯 軍史館 殺人事件 嬉戲 影癡謀殺 天堂邊緣 疾病備忘 Click, 寶貝 ㄦ 驚異派對 夜夜夜麻 三部曲 NSO 歌劇 諾瑪 采風樂坊 西遊記 及雲 門舞集 2 春鬥 等 Jerry graduated from Fashion Institute of Technology, State University of New York with a degree in Fashion Design. He had worked for the Bill Blass couture label in New York, and designed costumes for many Broadway productions. His recent works in costume design for theatre in Taiwan include: Self Re-Quests, Drifting, Have Wok, Will Travel, Dreams on Manuscript, Speaking in Tongues, The Tracks on the Beach, He is my Wife, He is my Mother, Drama War, To Be & Not to Be: A Dark Fantasy about Formosa II, Sylvia Plath, Murder in the Armed Forces Museum, Who-Ga-Sha-Ga, Reel Murders, The Edge of Heaven, A Memorandum of Disease, Click, My Baby, The Mahjong Game Trilogy, NSO opera Norma, Chai Found Music Workshop s The Journey of the Monkey King, and Cloud Gate 2 s Spring Riot. 51
藝術群簡介 Creative Team Profiles 肢體設計 演員 action designer & actress 魏沁如 WEI Ching-ju 國立台北藝術大學舞蹈表演所畢 劇場工作者, 參與舞蹈與戲劇演出 編舞 肢體教 學等工作 經年來以舞蹈專業背景與眾多資深劇場導演合作, 編舞以及肢體訓練, 同時 也擔任演員以及舞者, 長期與不同領域的藝術家合作, 而這些合作與跨國演出的經驗, 也成為日後創作以及表演詮釋的養份 2008 年法國巴黎 Centre International des Récollets 駐村藝術家 2007 年亞洲青春編舞營台灣編舞家代表編創 Being Late 2005 年亞洲文化協會台灣獎助計畫 The grantee of Asian Cultural council's Taiwan Fellowship Program 表演藝術類受獎 2006 年美國 Bates Dance Festival 以 Visiting Artist 身分編創演出 A pair 2006 年美國 American Dance Festival International Choreographer s Residency (ICR) 2002~2003 年隨無垢舞蹈劇場赴法國與義大利巡迴演出 花神祭 - 春芽 As a Performer and Choreographer, Ching-ju works in the Taiwan theatre field. Her training started in Chinese folk dance, and continued dancing in the Taipei National University of Arts, where she received MFA in dance. Ching-ju has performed across Oceanic States, Asia, and Europe. She has danced with many renowned companies in Taiwan such as Ku & Dancers and Legend Lin Dance Theatre. Other than her achievements in dance, Ching-ju has collaborated extensively with theater groups in Taiwan as dancer, actress or choreographer. The interdisciplinary collaboration has been a major inspiration to her performances and choreography. 2008 Residences of the Center International des Recollets (Paris) 2007 Asian Young Choreographer Project. 2006 Bates Dance Festival U.S.A. Visiting Artist program 2006 American Dance Festival International Choreographer s Residency (ICR) 2005 The grantee of Asian Cultural council's Taiwan Fellowship Program 52
藝術群簡介 Creative Team Profiles 排練指導 演員 rehearsal director & actor 葉文豪 YEH Wen-hao 文化大學生物系畢業 2003 年接觸舞台劇表演, 走入劇場表演旅程 2007 年加入 青睞好聲音 & 青睞好表情 至今, 現活躍於劇場 配音領域 作品有音樂劇 舞台劇和電影等類型 音樂劇 : 幾米音樂劇 向左走向右走音樂劇 幸運兒 地下鐵 廣藝劇場 美麗的錯誤 張惠妹 愛上卡門 音樂時代劇場 東區卡門 渭水春風 隔壁親家 四月望雨 Smokey Joe's Cafe I love you,you're perfect,now change 等 舞台劇: 莎士比亞的妹妹們的劇團 膚色的時光 殘, 神曲 333 文生. 梵谷 電影 : 雞排英雄 YEH graduated from the Department of Biology, Chinese Culture University. In 2003 he came into his first contact with playacting, thus embarking on the journey of theatrical performing. He joined ChinlaiVO & ChinlaiACT of Chinlai Artists Agency in 2007 and has since been actively working in theatre and voice over & dubbing. YEH s acting credits include Jimmy s musicals Turn Left, Turn Right, Mr. Wing, Subway, Guanta Arts Foundation s The Dreamy Fallacy, A-Mei s Carmen, All Music Theatre s Dancing Queen, The Impossible Times, My Dear Next Door and April Rain, and other musical productions such as Smokey Joe's Café and I love you, You're Perfect, Now Change; staged plays include: Shakespeare's Wild Sisters Group s Once, Upon Hearing the Skin Tone, Tsen, 333 Dante Soup and Vincent van Gogh and 7 Performers. He also acted in the film Night Market Hero. 53
藝術群簡介 Creative Team Profiles 演員 actor 崔台鎬 CHOI Tai-hao 國立台北藝術大學戲劇學系主修表演, 於校內期間與馬汀尼 林如萍 徐堰鈴 徐華謙等前輩學習表演 劇場作品 :2012 周先生下一個編舞計畫 - 創造下一個風景 小小小事 楊乃璇編舞 2011 阮劇團 2011 民主夫妻 fuqi proof 求證 汪兆謙導演 人力飛行劇團 星之暗湧 2011 噢! 美麗的日子 2010 國立台北藝術大學戲劇系學期製作 kalpa 時光之劫 While studying acting in the Department of Theatre Arts at Taipei Naitonal University of the Arts, CHOI Hai-hao learnt his crafts with such theatre professionals as MA Ti-ni, LIN Ru-ping, HSU Yen-ling and HSU Hua-chien. His works in theatre include: 2012 Mr. Zhou s Next Choreography Project Making the Next Landscape; Les Petites Choses choreographed by YANG Nai-hsuan; Our Theatre s 2011 production FUQI, and Proof, directed by WANG Jhao-cian; Mr. Wing Theatre Company s Fleeting Stars 2011; Oh! Beautiful Days; 2010 Taipei National University of Arts School of Theatre Arts s production Kalpa. 54
藝術群簡介 Creative Team Profiles actor 楊登鈞 YANG Deng-jyun Kalpa- H2M2(Hamletmachine) 05161973 2F Acting credits: Mr. Wing Theatre Company s Taipei Dad, New York Mom, Tender Blackmail, Fleeting Stars, Lan Chi-Yeah Super Hot, and China Tour for Jimmy's musical, Turn Left, Turn Right; VM Theatre Company s Fairy Tale in the Woods, I Am What I AM II, Just Like A Family; At the National Taipei University of the Arts: Kaipa, La Duchesse de Langeais, H2M2 (Hamletmachine), Arabian Night, 05161973 Wislawa Szymborska, The White Mountains, The Elevator Key, Goethe: Faust and Woyzeck; If Kids Theater Company s The Big Secret; 2F Theatre s Mysterious Odyssey; Oui creative group s That Night. 55
製作群簡介 Production Team Profiles production stage manager 楊淑雯 YANG Shu-wen NSO 2012 20 2011 2006 M.F.A. in Theatre, U of Missouri at Kansas City. Specialize in managing all phases of production from theater production to entertainment events. Working as production manager, production coordinator, project manager, stage manager for hundreds of productions, including Theatre production, pop concert and entertainment projects. Major Credit: The Republic of China Centennial Grand Countdown at Taipei, general stage manager, 2010. 2009 Taipei Deaflympic Opening and Closing Ceremony at Taipei Stadium, general stage manager, 2009. Zaia Cirque du Soleil, at The Venetian Macao, 2008 April-Oct. Ring Circle, Norma, Tristan Und Isolde, opera by National Sympathy Orchestra, Taiwan, 2003-2006. Hansel und Gretel, Carmen, Turandot, opera by Taipei Sympathy Orchestra. Mr. Wing, The Sound of the Color, musicals by Mr. Wing Production Company, Asia tour. Song of the China cinema, musical by China Cinema Channel of CCTV, Beijing, 2005. Snow in August, Modern opera directed by Mr. Gao, Xingjian/Nobel laureate, Taiwan Drama College, 2002 Taipei, Taiwan premier and 2005 Marseille, France tour. Peony Pavilion,Kun opera by Lincoln Center Festival, 2004 Spoleto Festival USA, 2003 Singapore tour. 56
製作群簡介 Production Team Profiles 彩妝髮型統籌 hair styling and make-up direction 黃慧貞 HUANG Hei-jen 現任實踐大學高雄校區時尚設計學系助理教授 中華婦女創業協會顧問 中華產學發展協會顧問及中華國際時尚設計整體造型協會理事長 多年造型經驗包括采風樂坊東方器樂劇場 Ⅲ 無極 國家劇院演出造型總監 高雄客委會 俠客與寶飾 黃慧貞造型設計展 美濃客家文物館 美學設計聯展 策展人 什麼都布飾 台北國際花博環生方舟動態展演造型總監 電影賽德克巴萊萬人聯映會彩妝髮型設計 第 51 屆亞太影展造型指定團隊造型總監等 著作有 新娘創意造型 飾品達人 新中國風中英文版 及 數位彩粧造型 等 HUANG Hei-jen is the associate professor at Shih Chien University s Department of Fashion Design and Director of Chinese International Fashion and Design Styling Association. Her extensive experience includes Styling Director for Chai Found Music Workshop s Wuji, HUANG Hui-jen Design & Styling Exhibition organized by Kaohsiung's Hakka Affairs Commission, Curator Everything to Do with Cloth Exhibition for at Meinong Hakka Cultural Museum, Styling Director at Eco-Ark Dynamic Exhibition at Taipei International Flora Expo, make-up and hairstyle design for Seediq Bale movie premiere, and Styling Director at 51 st Asia Pacific Film Festival. She is also a prolific author, with numerous books on make-up and styling published to wide acclaim. 57
藝術暨製作群 Credit 製作 國立中正文化中心 製作人 邱大環 心經 作曲家暨指揮 克里斯蒂安. 佑斯特 Christian Jost 劇本及歌詞 邱瑗許小寒 黃莉錦段綾卿 林玲慧母親 翁若珮龔海立 韓蓬樂團 國家交響樂團鋼琴排練 謝欣容見習歌手暨排練助理 黃亞中演員 魏沁如 葉文豪 崔台鎬 楊登鈞字幕翻譯 葉文豪 呂懿德 傾城之戀 作曲家暨指揮 鍾耀光二胡 王銘裕高胡 王薇樂團 十方樂集 國家交響樂團口白演出 張小虹演員 魏沁如 葉文豪 58
導演 黎煥雄舞台設計 張維文燈光設計 李俊餘服裝設計 謝介人影像設計 周東彥肢體設計 魏沁如排練指導 葉文豪舞台設計助理 林仕倫影像設計製作團隊 林伯勛 黃偉軒 王博彥執行製作 郭玟岑製作舞台監督 楊淑雯執行舞監 張芝瑜統籌舞監 黃敬智舞台技術指導 陳慶洋燈光技術指導 盧建安燈光執行 陳演裕 陳秋銘 林彥志 楊忠淳 羅浩翔 林智昇視聽執行 黃俊義 張枝財字幕製作 謝思韻服裝管理 水毓棠彩妝髮型統籌 黃慧貞彩妝 林宥涵張瑜真髮型 林郁呈 王子玲 許惠珊造型助理 黃美瑜 戲劇製作 中觀文化舞台製作 大岳藝術宣傳 呂佳音節目單翻譯 呂懿德 孫百儀 呂繼先部分器材 聚光工作坊 ( 燈光 / 字幕機 ) 59
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