【2023衛武營國際音樂節】《音樂揭秘：華格納的崔斯坦效應》

繼2022年迴響熱烈的《音樂揭秘：展覽會之What？》後，2023年衛武營再度引進美國芝加哥交響樂團（CSO）另一套震撼力十足的製作《音樂揭秘：華格納的崔斯坦效應》，要以多媒體形式帶領聽眾深度領略華格納創舉。

《崔斯坦與伊索德》開始的和弦進行，被後世學者稱為調性與非調性音樂的分水嶺，它不知從何而來的身世，以及不知去往何方的效果，宛如映照出人類的潛意識。音樂會從該和弦出發，接連透過樂團片段、譜例圖像與四位演員的緊密對話，細膩挖掘全劇創作背景與情節轉折。其中，為呈現作曲家的靈感源泉，導演也特別安排次女高音演唱《威森東克之歌》選段，揭露華格納當時對威森東克夫人投注的深情。

《音樂揭秘》（Beyond the Score®）系列致力以戲劇、投影、燈光等多媒體，結合現場交響樂團與說書人解說，共同挖掘樂曲的創作背景與作曲家生平，無論是對剛入門者或資深行家，都是再有趣不過的聆賞體驗。

Following the widely acclaimed Mussorgsky: Pictures from an Exhibition: Pictures of What? in 2022, Weiwuying is once again bringing in a powerful Beyond the Score® production from the Chicago Symphony Orchestra, Wagner: The Tristan Effect, in 2023, as a profound, multimedia experience of WAGNER’s creativity.

The chord progression at the beginning of Tristan und Isolde was deemed by experts of later times the line of demarcation between tonal and atonal music. Its sense of unknown origin and unknown destination is a reflection of the human subconscious. Beginning with the chord progression, and then, by means of an intimate conversation among orchestral excerpts, images of sheet music, and the four actors, the creative background and plot twist are exquisitely revealed. To exhibit WAGNER’s source of inspiration, the soprano will sing excerpts from WESENDONCK-Lieder, which is clearly a declaration of WAGNER’s affection for Madame WESENDONCK.

The Beyond the Score® series is a combination of theater, projection, and lighting that brings together orchestral music and storytelling in looking at the backgrounds of pieces of music and their composers. Whether an aficionado or new to music, you are sure to find it highly enjoyable.

Beyond the Score® is a production of the Chicago Symphony Orchestra

Gerard McBurney, Creative Director for Beyond the Score®

Beyond the Score® 由芝加哥交響樂團製作

創意總監：傑拉德‧麥博尼

演出人員名單

指揮｜楊智欽
次女高音｜王郁馨

鋼琴｜謝欣容

演員｜許逸聖、許照慈、柯辰穎、郝士淮

樂團｜高雄市交響樂團

Conductor｜YANG Chih-chin
Mezzo-soprano｜ WANG Yu-shin

Piano｜HSIEH Hsin-jung

Actor｜ HSU Yi-sheng, Chao HSU, KO Chen-ying, HAO Shi-huai

Orchestra｜Kaohsiung Symphony Orchestra

藝術家介紹

指揮｜楊智欽

「他對樂團展現高度的掌控能力，指揮技術精準，內斂且富於表情⋯⋯」──聲樂家月刊

現任高雄市交響樂團指揮。畢業於俄羅斯國立葛涅辛音樂學院。

音樂風格細膩，流暢優美，嚴謹的工作態度與對樂譜的忠實解讀，使其演出均獲愛樂者熱烈迴響。其演出類型廣泛，除經典管絃曲目外，對於跨界、歌劇、芭蕾製作及演出經歷也極為豐富，包含高雄春天藝術節草地音樂會、大型自製節目與全本歌劇製作等。

敏銳的音樂性及靈活的樂團掌握能力，讓他跟國內外優秀獨奏家與樂團的合作，激盪出精彩火花，包括：小提琴家列賓、諏訪內晶子、鋼琴家波哥雷里奇、俄羅斯史維特蘭諾夫交響樂團、德國符騰堡愛樂交響樂團、日本金澤管絃樂團等。2017年率高雄市交響樂團赴日本金澤「貝多芬音樂節」演出，更獲聽眾及樂評一致讚賞。

次女高音｜王郁馨
國立交通大學音樂研究所聲樂組碩士。次女高音王郁馨兼具豐滿及溫暖寬厚音色，演唱曲目廣泛，涵蓋巴洛克至當代的作品。曾擔任多部歌劇要角，包括與臺北市立交響樂團合作演出歌劇《尤金奧涅金》、《弄臣》，國家交響樂團《莎樂美》、《修女安潔莉卡》，臺中歌劇院《女武神》，高雄市交響樂團《蝴蝶夫人》，臺北歌劇劇場《浮士德》、《短促的人生》，創世歌劇團《卡門》，兩廳院歌劇工作坊《三隻小豬＆木偶奇遇記》，臺北市立國樂團《蔥仔開花》、及臺北愛樂歌劇坊《魔笛》、《強尼史基基》、《頑童與魔法》等。2014年在知名作曲家久石讓指揮長榮交響樂團與維也納國家歌劇院合唱團演出貝多芬第九號交響曲《合唱》中擔任女中音獨唱，亦曾於馬勒第二號交響曲《復活》、韓德爾神劇《彌賽亞》、《底波拉》、《伯沙撒王》、《狄奧多拉》、韋瓦第《榮耀頌》、莫札特《C大調彌撒曲》、海頓《d小調彌撒曲》及馬丁帕爾梅利《布宜諾斯艾利斯彌撒》中擔任女中音獨唱。2017年獲首屆國際歌劇重唱大賽社會組第一名，2018年受邀赴義大利及瑞士等地演出。
演唱之餘致力於聲樂教學以及合唱音樂推廣。現任教於國立臺灣藝術大學中國音樂學系，並擔任國立陽明交通大學教職員合唱團藝術總監暨指揮。

鋼琴│謝欣容

四歲開始習琴，受到林瓊玉、王仁珍、簡寬弘、魏樂富教授們許多教導與啟發。自國立藝術學院畢業後，赴維也納隨David LUTZ 教授深入研習德文藝術歌曲，於1999年取得國立維也納音樂大學聲樂伴奏家文憑。2002、2003 樂季受聘為俄國聖彼德堡馬林斯基劇院青年歌唱家學院專任伴奏。

她經常受邀與國內傑出聲樂家們合作演出各類歌樂作品：從巴洛克到當代作品首演，從藝術歌曲聖樂到歌劇；謝欣容皆誠摯細心地詮釋。曾受邀擔任莫札特歌劇《魔笛》、《後宮誘逃》、《劇院經理》、羅西尼歌劇《塞爾維亞理髮師》、董尼采第歌劇《愛情靈藥》、貝里尼歌劇《夢遊女》、韋伯歌劇《魔彈射手》、史特勞斯輕歌劇《蝙蝠》、洪伯定克歌劇《糖果屋》、奧爾福歌劇《聰明的女人》、《月亮》、威爾第歌劇《茶花女》、《弄臣》等音樂與聲樂指導，及錢南章歌劇《李天祿的四個女人》、顏名秀臺灣歌劇《我的媽媽欠栽培》、李哲藝臺語歌劇《蔥仔開花》世界首演的聲樂指導。

謝欣容曾獲國際林姆斯基･高沙可夫聲樂大賽、臺北德文藝術歌曲大賽《最佳伴奏獎》。2005至2016年間任職於國立實驗合唱團，深受指揮家Agnes GROSSMANN 薰陶。2005年起陸續任職於國立臺灣藝術大學、國立臺北藝術大學音樂系、臺北市立國樂團附設合唱團及臺大合唱團。

演員 │許逸聖

大學講師、劇場工作者，畢業於國立臺北教育大學音樂研究所，主修聲樂。為2009聲協新秀、2009年兩廳院歌劇工作坊成員。曾任教於臺灣師範大學表演藝術研究所、實踐大學音樂系，現任教於南臺科技大學流行音樂產業系。

許逸聖於2008年與臺北市立交響樂團合作《強尼史基基》，飾Spinelloccio，開始了歌劇的演出，此後演出的角色眾多，並於2018年衛武營開幕季輕歌劇《憨第德》中飾演說書人、潘格羅斯、馬丁。劇場演出作品有果陀劇場《徵婚啟事》、《吻我吧娜娜》、《愛呀，我的媽！》；臺灣戲劇表演家劇團《天若光》、《兄弟》。臺北市立交響樂團《綠島小夜曲》、臺灣師範大學《山海經傳》；只是嚷嚷《不讀書俱樂部》、相信音樂《搭錯車》。如果兒童劇團《天使愛唱歌》、《流浪狗之歌》、《舅舅的閣樓》。2019年受邀演出諾貝爾文學獎得主高行健教授劇作《獨白》世界首演，大獲好評。重要編導作品則包含：國家交響樂團歌劇推廣《小齊的煩惱》、屏東縣文化處委託創作阿卡貝拉音樂劇《阿爸掠魚的時陣攏咧唱歌》、交響音樂劇《皮爾金厲害》、歌劇選粹《卡門》、音樂劇《阿嬤的歌本》、2014台南藝術節音樂劇《心之鎖愛》、歌劇《糖果屋》。

演員│許照慈

高雄大寮人，臺語人，畢業於國立臺灣師範大學英語系、國立臺北藝術大學劇場藝術創作研究所表演組。試圖在語言及文化創造出的各種生活樣貌中遨遊，探索肢體的旋律與呼吸，享受不符常規的怪奇。曾接觸之跨文化表演方法：鈴木忠志演員訓練，坂東流歌舞伎舞踊，陽光劇團集體即興工作坊，麥可・契訶夫表演技巧工作坊，無垢舞蹈劇場之肢體開發班，音樂劇表演……等。海外交流經驗包括丹麥歐丁劇場之歐丁藝術週（Odin Week Festival）、法國國家舞蹈中心之Camping活動。

演出創作跨足音樂劇、寫實戲劇、肢體劇場、聲音表演、單人表演創作等。 近期演出：啟藝《華燈初上沉浸式劇場》、盜火劇團《雪姬來的那一夜》、阮劇團《皇都電姬》《台語仙拼仙》、創造焦點－女子馬戲平台個人創作《限時嘗試》、製作循環工作室《獨白時刻》《分手快樂》、刺點創作工坊《誰偷走了我的字》、公視台語台－臺語主持、瘋戲樂工作室《當金蓮成熟時》、《Mostly Broadway #S2》、《台灣有個好萊塢》、台北小花劇團《O – Life’s a Drag》、天作之合劇場《飲食男女》、躍演《釧兒4.0》⋯⋯等。 其它合作單位包含：金枝演社、A劇團、Ex-亞洲劇團、臺北表演藝術中心、臺北藝術節、安徒生與莫札特的創意劇場、玩勮工廠、Phi 表演工作室、台北劇場實驗室、On Stage表藝坊、愛樂劇工廠、好野工作室⋯⋯等。

演員│柯辰穎

國立臺北藝術大學戲劇學系畢業。

為劇場自由工作者，斜槓《吟遊森林ZanaFloral》花藝助理。

水戲研究所擔任推廣主任，與演員沙宣、編輯阿橘共同主持Podcast節目《愛聽不聽》

專長演戲，近年作品以音樂劇為主，往全方位演員邁進！

【重要演出作品】

刺點創作工坊《幕後傳奇－苦魯人生4.0》、《黑影王國歷險記1、2》

耳東劇團╳庾澄慶《西哈遊記－魔二代再起》

台南人劇團音樂劇《第十二夜》

台北愛樂劇工廠音樂劇《小羊晚點名》

躍演劇團音樂劇讀劇《只為與你相遇的春夏秋冬》

陳家聲工作室 音樂劇讀劇《魔物戰記》

開拓動漫╳貪食德工作室《過氣英雄傳》《陰間條例－冥戰篇》

笨蛋工作室沈浸式密室逃脫《浮世百願》

覔見實境遊戲《總督諜影》

演員 │郝士淮

郝士淮在劇場表演領域有十五年經歷，並具備性別教育碩士及視覺傳達設計學士學位。曾於新加坡實踐劇場（The Theatre Practice）擔任駐團藝術工作者（Associate Artists）3年，從事表演與戲劇課程規劃與教學。2019年返臺後，持續在戲劇應用推廣上努力，邀請國外師資舉辦表演工作坊、籌備戲劇體驗營隊。他擅長結合戲劇元素與社會實踐，用故事跟觀眾對話。

重要作品包含：

2022 天生歌手年度家族音樂會《天生我的家》，編劇／演員

天生音籟兒童合唱團《日日是好日：太陽之歌》，編劇／導演

嵬舞劇場《野獸的咆哮》，演員／舞者

2021 六堆300年紀念活動《菸葉的香味》，編劇／導演

2020 高雄春天藝術節╳橄欖葉劇團《凍土》，演員

嵬舞劇場《如果我不會回來》，演員／舞者

快樂鳥故事劇場《倒帶青春》（教育劇場），編劇／主持人

2018 新加坡實踐劇場《Artist Farm》《Immortal X》，演員

2015 愛幕劇團《家裡沒男人》，演員

高雄市交響樂團

1981年成立。2009年與高雄市國樂團整併為「財團法人高雄市愛樂文化藝術基金會」，時任高雄市文化局史哲局長出任董事長。2010年，朱宏昌先生出任執行長。2011年，楊智欽先生出任駐團指揮。現任董事長為高雄市文化局長王文翠。

樂團以高雄代表自許，曾與卡列拉斯、海莉、布赫賓德、列賓、明玆、麥斯基、諏訪內晶子等大師合作，厚植樂團演奏實力及建立品牌。除堅守古典演奏形式，也積極走出廳堂，結合不同場域、型態的表演藝術擁抱大眾；尤以參與高雄春天藝術節系列草地音樂會、名家音樂會、寶寶音樂會及全本歌劇製作演出要角。2018年更獲邀參與臺灣最大表演藝術中心──衛武營國家藝術文化中心啟用及開幕系列多場節目，精湛演出受國內樂壇及樂迷一致肯定。

先後獲邀至美國、澳門、南京、上海、青島、蘇州、新加坡、北京、日本及香港演出，跨越城市與國界，逐步以國際性樂團為目標，堅定向前。

Conductor｜YANG Chih-chin

Principal Conductor of Kaohsiung Symphony Orchestra (KSO), YANG Chih-chin is a renowned conductor in his generation in Taiwan. Born in 1969, he graduated from The Russian Academy of Gnesin, Moscow, Russia, and studied with Miroslav RUSIN, Filex CHEN Chiu-sheng, András LIGETI, Gunther HERBIG, Michael JUROWSKI. Before joining KSO, YANG served as the Assistant Conductor of Taipei Symphony Orchestra, the Conductor of Opera Studio of National Chiang Kai-Shek Cultural Center, Taiwan.

YANG obtains very great success in performance from the public by his passion of music, rich orchestral color control capabilities, excellent rhythm, and faithful interpretation of the score.

YANG has performed with many excellent soloists including Vadim REPIN, Ivo POGORELICH, Andrei GAVRILOV, Sergei NAKARIAKOV, Akiko SUWANAI, Valentina LISITSA, Konstantin LIFSCHITZ, Gavriel LIPKIND, Alban GERHARDT, YANG Wen-sinn, Ilya GRINGOLTS, Alexei VOLODIN, Tsuyoshi TSUTSUMI, LIN Cho-liang, HU Nai-yuan, and LIU Meng-chieh.

YANG has worked with and conducted Svetlanov Symphony Orchestra of Russia, Voronezh Philharmonic Orchestra, Württemberg Philharmonic Reutlingen, Bulgarian State Opera Burgas, Filarmonica Brasov, Orchestra Ensemble Kanazawa of Japan, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra and Nanjing Jiangsu Symphony. Highlights in recent season, 2017, YANG was invited to Kanazawa Japan with KSO, performing in Spring Green Music Festival where they were highly acclaimed by critics and reviews.

Mezzo-soprano│WANG Yu-hsin

With a master’s from the Institute of Music at National Chiao Tung University, mezzo-soprano WANG Yu-hsin has a full, warm timbre and can sing pieces ranging from the Baroque to the contemporary. She has played major roles in numerous operas, singing various parts, including Rigoletto and Eugene Onegin (with the Taipei Symphony Orchestra), Salome and Suor Angelica (National Symphony Orchestra), Die Walküre (National Taichung Theater), Madama Butterfly (Kaohsiung Symphony Orchestra), Faust and La Vida Breve (Taipei Opera Theater), Carmen (Creation Opera Institute), The Three Little Pigs and Pinocchio (National Theater and Concert Hall Opera Workshop), Formosa Bloom (Taipei Chinese Orchestra), and The Magic Flute, Gianni Schicchi, and L’Enfant et les Sortileges (Taipei Philharmonic Opera Studio). In 2014, with conductor Joe HISAISHI, the Evergreen Symphony Orchestra, and the Vienna State Opera Chorus, she performed the alto solo in BEETHOVEN’s Symphony No. 9. She has also performed the alto solos in MAHLER’s Symphony No. 2; HANDEL’s Messiah, Deborah, Belshazzar, and Theodora; VIVALDI’s Gloria; MOZART’s Mass in C Major; HAYDN’s Mass in D Minor, and PALMERI’s Misa a Buenos Aires. She won first place in the adult division at the 1^st International Opera Vocal Ensemble Competition in 2017 and was invited to perform in Italy and Switzerland in 2018.

Piano│ HSIEH Hsin-jung

HSIEH Hsin-jung began learning the piano at age four and came under the tutelage of professors LIN Chiung-yu, WANG Ren-jen, JIAN Kuan-hong, and Rolf-Peter WILLE. After graduating from the National Institute of the Arts, she studied German lieder under David LUTZ in Vienna. In 1999, she earned a degree in piano vocal accompaniment from the University of Music and Performing Arts Vienna. In 2002 and 2003, she worked at the Mariinsky Academy of Young Opera Singers in St. Petersburg.

She frequently collaborates with notable Taiwanese singers in genres ranging from Baroque to contemporary and from sacred music to opera. She has performed and worked as vocal coach in MOZART’s The Magic Flute, The Abduction from the Seraglio, and The Impresario; ROSSINI’s The Barber of Seville; DONIZETTI’s The Elixir of Love; BELLINI’s The Sleepwalker; WEBER’s The Marksman; STRAUSS’ The Bat; HUMPERDINCK’s Hansel and Gretel; and VERDI’s La Traviata and Rigoletto. She was also the vocal coach in the world premieres of CHIEN Nan-chang’s The Four Women in Puppet Master Lee Tien-lu’s Life, YEN Ming-hsiu’s My Mom Needs an Education, and LEE Che-yi’s Formosa Bloom. She has won prizes at the International Rimsky-Korsakov Competition and German Lieder Competition Taipei. From 2005 to 2016, she worked for the Taiwan National Choir, learning much from Agnes GROSSMANN. Since 2005, she has worked at National Taiwan University of Arts, Taipei National University of the Arts, and the Taipei Chinese Orchestra Chorus.

Actor│ HSU Yi-sheng

A university lecturer, stage performer, playwright, and director, HSU Yi-sheng earned a master’s in vocal performance from National Taipei University of Education. In 2009, he won Newcomer Award at the Association of Vocal Artists of R. O. C. and worked at the Opera Workshop of the National Theater & Concert Hall. In 2019, he received high acclaim for his performance in the global debut of Nobel laureate GAO Xingjian’s The Monologue. He currently teaches at Southern Taiwan University of Science and Technology, Shih Chien University, and National Taiwan Normal University.

He initiated his opera career by playing Spinelloccio in Gianni Schicchi in 2008. In 2018, he played the storyteller, Pangloss, and Martin in Weiwuying’s Candide. He became more active in stage drama in 2012, performing in Godot Theatre Company’s Mr. Right Wanted, U, Brother?, Our Town. Musicals include the Taipei Symphony Orchestra’s Green Island Serenade, Godot Theatre Company’s Kiss Me Nana and Love Ya Mom, and so on. His major works as a playwright/director include Qi’s Trouble for the National Symphony Orchestra; the a cappella musical Dad Stealing Fish, the symphony musical Peer Gynt Suites, Excerpts from Carmen, and the musical The Grandma’s Songbook for the Pingtung Cultural Affairs Bureau; and the musical Closing Off the Heart and the opera Hansel and Gretel for the Tainan Arts Festival.

Actress│Chao HSU

HSU is a singer, actress, and theater artist. She is experienced in seeking every opportunity to explore the interplay between inner body-mind and outer society under a cross-cultural context. Chao graduated from National Taiwan Normal University, English Department (B.A.) and Taipei National University of Arts, School of Theatre Arts (M.F.A.), participated the Odin Week Festival in 2016, and went to the Camping event in Centre National de la Danse during 2018.

Born and raised in rural Kaohsiung, HSU had always wanting to bridge the gap of artistic focus between the cities and the rural areas. Her training includes Michael CHEKHOV Technique (by Taipei Theatre Lab), Body Awareness (by Legend Lin Dance Theatre), SUZUKI Actor Training, Bando Kabuki Dance (by BANDO Sengiku), musical theatre, and regular dance classes such as ballet, contemporary, etc. HSU’s artistic practice can be mostly seen in musicals, physical theater performances, straight plays, and solo shows. Her recent performances are: Light the Night Immersive Theater by Inception.co, The Night Yukihime Came by Voleur du Feu Theatre, The State and Dendki by Our Theater, Do (Not) Rescue collaborated with Eye Catching Circus-Female circus platform, Moments, Start Over: the Musical by Project Zero, Who stole my words? by Punctum Drama, When the Lotus Blossoms, Mostly Broadway #S2, Taiwan Hólíwood: A Musical Comedy by M Studio, O–Life’s a Drag by Taipei Blooming, Eat Drink Man Woman by Perfect Match, and Reed Unbroken by VM Theater…etc.

Actor│ KO Chen-ying

B.A. in theater arts, Taipei National University of the Arts

Freelance theater artist and assistant floral designer at Zana Floral

Most of my recent work has been in musicals, so I’m honing my singing and dancing skills too!

Major Work

Punctum Creative’s The Show Must Go On IV and Adventure in the Kingdom of Black Shadow I and II

Ear East Ensemble and Harlem YU’s The Journey to the West—Uprise of the Young Devil

Tainaner Ensemble’s musical 12^th Night

Taipei Philharmonic Theatre’s A Lamb Roll-call: Wolf in Disguise

GarsonPlay Studio’s musical stage reading Fight for Fantasy

FancyFrontier and How to Eat Faust’s Old Man Hero and Hades Apocalypse

Meet Chances’ The Espionage of Governor

Actor│HAO Shi-huai

HAO Shi-huai has 15 years of experience in theater, a master’s in sex education, and a bachelor’s in visual communication. He worked as an associate artist for three years at The Theatre Practice in Singapore, where he coordinated and taught classes on performing and theater. Upon returning to Taiwan in 2019, he invited overseas instructors to hold a performance workshop and coordinated a theater experience camp. He specializes in incorporating theater elements with social practice and engages audiences in dialogue through stories.

Major Work

2022 Performer and dancer for Natus, My Home (concert put on by Natus Cantorum)

Playwright and director for Song of the Sun, part of Natus Cantorum Junior’s event Every Day Is a Good Day

Performer and dancer in Wei Dance Company’s Roar of the Beast

2021 Playwright and director for the drama Fragrance of Tobacco at the Liudui 300 Years celebration

2020 Performer in Olive Leaf Theater’s Over and Over Again at the Kaohsiung Spring Arts Festival

Performer and dancer in Wei Dance Company’s If I Don’t Come Back

Playwright and host for Happy Bird Story Theatre’s Smashed (educational drama)

2018 Performer in Theatre Practice’s Artist Farm and Immortal X

2015 Performer in E-MU-THEATER’s Gleichgewicht

Kaohsiung Symphony Orchestra

Wherever there is music, there is you.

A young orchestra which marches on steadily

It is an asset for a city to have an orchestra of its own. Young and energetic, the Kaohsiung Symphony

Orchestra (KSO) invites world-class conductors and masters for collaboration and challenges itself by staging performances of diversified styles. The development of the orchestra focuses on both classical and crossover genres; it has not only created increasingly more high quality musical miscellanies for music enthusiasts but also planted numerous seeds for music appreciation and performance, contributing to the innovation of classical music.

The Kaohsiung Symphony Orchestra was founded in 1981. It was merged with the Kaohsiung Chinese Orchestra in 2009 as "Kaohsiung Philharmonic Culture and Arts Foundation." Since 2009, the KSO has made considerable contributions in the Kaohsiung Spring Arts Festival, successfully promoting its grassland concerts. In the last decade, the KSO has collaborated with renowned local and international artists and music groups and staged numerous concert series. The KSO has been invited to perform on international stages regularly. Reaching beyond city and country borders, the KSO advances steadily with the self-development goal of becoming an internationally acclaimed orchestra.

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