2015/OCT
1 0 . 2 2 , 8 : 0 0 pm
鲮㬦䀅
駥㖌薟粷
Gurre-Lieder
Chinese Premiere of
Arnold sChoenberg
《古雷之歌》 勋伯格清唱剧中国大陆首演
目录
CONTENTS
02
03
桏茩燒
PROGRAMME LIST
頯梮咲鞯鄻 THE ARTISTS
嬐嬱·䞝詇䩷則 PETER RUZICKA
貏侢≧惛·鍊廟 MICHAELA KAUNE
鶵棡呺袹厸 MIHOKO FUJIMURA
喺詁惛·鞐蟨俓 NIKOLAI SCHUKOFF
呏孭砮鲡昤·姾惛孭 ANDREAS CONRAD
煄爁 SHENYANG
鈵啯俓·㠣陸 ROLF BECK
穚煛喺鲡蹺咲翇佪諦緋筧 THE ESTONIAN NATIONAL MALE CHOIR
孭蹺讞㠣陸蹺䅕諦緋筧 INTERNATIONAL CHORAL ACADEMY LÜBECK
醢犦潣談䅳諦緋筧偔佪諦緋筧 SHANGHAI OPERA HOUSE CHORUS FEMALE CHOIR
醢犦鲮閼貊筧 SHANGHAI SYMPHONY ORCHESTRA
醢犦貊䄯叧䅳 SHANGHAI ORCHESTRA ACADEMY
42
47
64
桏茩鞯鄻 NOTES ON THE PROGRAMME
銷絆樴:〔詁䈈躐潣〕
ARNOLD SCHOENBERG: GURRE-LIEDER
潣㛓 LYRICS
醢犦鲮閼貊筧旝誼僨嗴▕㳟∥醮絔鲇雜瀕
SHANGHAI SYMPHONY FOUNDATION & CORPORATE SPONSORS
頺茩䎖鶯 UPCOMING CONCERTS
醢鲮紡貊㯵謖雜 SSO CLUB MEMBERS
梪鯫䌄貊∥獰謖㡤錫
2 0 1 5 / O C T
1 0 . 2 2 , 8 : 0 0 PM
鲮㬦䀅
駥㖌薟粷
GURRE-LIEDER
CHINESE PREMIERE OF ARNOLD SCHOENBERG
《古雷之歌》勋伯格清唱剧中国大陆首演
SHANGHAI SYMPHONY HALL - CONCERT HALL
醢犦鲮閼貊筧䌄貊鄭·踽鄭
銷絆樴
ARNOLD SCHOENBERG
貏侢≧惛·鍊廟 䒅 侸鵄
Michaela Kaune as Tove
鶵棡呺袹厸 䒅 欨楁艀䥚
〔詁䈈躐潣〕
GURRE-LIEDER!
訅酽㯵鰓 PART I
Mihoko Fujimura as Waldtaube
60'
跤鯫鼷峗 INTERMISSION
訅鲈㯵鰓 PART II
訅醑㯵鰓 PART III
喺詁惛·鞐蟨俓 䒅 罁啯孭粓
Nikolai Schukoff as Waldemar
嬐嬱·鎢濕鲡啯 䒅 陸俠昤
Peter Galliard as Klaus narr
45'
煄爁 䒅 嚙炓悶梋㛻鍎
Shenyang as Bauer Sprecher
慇慽 嬐嬱·䞝詇䩷則
Conductor Peter Ruzicka
醢犦鲮閼貊筧
Shanghai Symphony Orchestra
醢犦貊䄯叧䅳
Shanghai Orchestra Academy
諦緋慇慽 鈵啯俓·㠣陸
Choirmaster Rolf Beck
穚煛喺鲡蹺咲翇佪諦緋筧
The Estonian National Male Choir
孭蹺讞㠣陸蹺䅕諦緋筧
International Choral Academy Lübeck
醢犦潣談䅳諦緋筧偔佪諦緋筧
Shanghai Opera House Chorus Female Choir
*甡熱桏茩飨嫕俍踵豈
PROGRAMME IS SUBJECT TO CHANGE
02
頯梮咲鞯鄻䯙THE ARTISTS
彼得·鲁策齐卡
指挥
嬐
嬱·䞝詇䩷則1948妘7桸3暀熱羠鲋
孭蹺棯丠啯侸俓、暆妘骼桪鮪烲
ー䌄貊叧䅳扟糴藥愥㾱綖。儕讛諎嶗慘
桏鮪廟艊䌄貊斊鑇、躐謚骼鮪帩喺䧸。烲
ー嶗榙楁叧雳熴嬣嶗䌄貊叧䯖妛鲋1977妘
鮪榙楁呝彾鑫贜佖㛀旝、骼艊慘桏慘閔藥
愥俋㳝諎媘貊嶗咇廟貊䯖飨倀2011妘鮪孭
䈈昤䎑䒫甡艊潣談〔㒂梋〕、謾潣談昦
慘〔駻啯孭楁〕䯖鲋2008妘鮪榙楁蹺襫
潣談䅳䒫甡、
嬐嬱·䞝詇䩷則鮪1990妘⺖麇噯踵烲ー䌄貊醮彽談叧䅳艊斊戦䯖讜暚雩曧帩喺䧸墴鼹濕
鲡頯梮叧∥飨倀烲ー靕羾頯梮叧∥艊彾蘚、
嬐嬱·䞝詇䩷則艊慘閔⺖跫翨酽牐貊筧醮諦倗筧忞甡鄼䯖謾跤藥愥榙楁穚貊貊筧。醎雩
鄐穚貊貊筧。帩喺䧸墴鼹濕鲡妭摙諎媘貊筧。榙楁孭蹺鲮閼貊筧。譯孭妭摙鲮閼貊筧。鬰
陸欨孭䈈昤䎑蹺襫貊筧。帩喺䧸穚貊貊筧。紬㠣樴鲮閼貊筧。驌瀷䀰壉縟俋轉諎媘貊筧。
飝䧵跫䌄貊鄭貊筧。䅏働昤竑踹艎咲∥⊕諎媘貊筧。愛斣穚貊貊筧。墴䧵穚貊貊筧。懴陸
穚貊貊筧。醎雩鄐妭摙貊筧。飨頥燒穚貊貊筧。鯆竑濕啯鲮閼貊筧䯖飨倀鄟郿穚貊貊筧、
踵謾慘閔怱欀艊慇慽咲桹䯤樴啯孭·䅏啯壉䈈壔竑。媈惛▕貏啯·䅏鳘鑃鄐䩷。㜨飰·瀸倝蟨
俓。㳚則侸·侢黥。陸㳚昤侸俓·頴欨墴㡱。㫔陸啯·諮愛。壦焿·䇖啯醎。䖂㳚昤·椂椡昤。姈
啯竑·䖂鞐啯。呏趼喺倿·壦壦㜀。梲丠蟬·㒂㜀燆濕䯖飨倀陸㳚昤鮩呏·鮩寫桞、
嬐嬱·䞝詇䩷則鲋1979妘靧1987妘䄄桪惔麇榙楁妭摙鲮閼貊筧艊頯梮岄苳䯖妛鲋1988妘
靧1997妘䄄惔麇㫓烲ー蹺襫潣談䅳嶗蹺襫穚貊貊筧艊岄苳、澑侳䯖骼鮪1997妘靧1999妘
䄄惔麇㫓䅏働昤竑踹艎咲∥⊕諎媘貊筧艊頯梮䎐䃾、1999妘䯖骼⺖麇噯踵墴鼹濕鲡彽談叧
䅳艊樍䂏、2001妘勢2006妘䄄䯖䞝詇䩷則麇鬰啯馂ー䌄貊頺頯梮岄苳酽鎲、茩頌䯖骼扟
桬鮪1996妘趙麇艊鲳詇䯖惔麇帩喺䧸儕妘嗴䌄貊頺艊頯梮岄苳、
03
慘踵慇慽䯖嬐嬱·䞝詇䩷則桪怱欀榙楁孭蹺鲮閼貊筧嫚壽鑫䖂寫。蟬竑欨嶗昻䈈陸啯艊
慘閔CD䯖籹䎘烲ー譯孭妭摙鲮閼貊筧嫚壽鑫烲昤·醎鲡鄐·鲳詇艊酽倧12CD艊諎媘貊慘閔
䇗、骼㫤慇慽㫓䅏働昤竑踹艎咲∥⊕諎媘貊筧。鬰陸欨孭䈈昤䎑蹺襫貊筧。驌瀷䀰壉縟俋
轉諎媘貊筧。墴鼹濕鲡妭摙鲮閼貊筧。紬㠣樴鲮閼貊筧。昤蹕鎢竑妭摙鲮閼貊筧。墴舽墴
舽攢孭妭摙鲮閼貊筧。媈驌ー攢孭妭摙鲮閼貊筧。蟨䆗㒂孭妭摙諎媘貊筧。熴賣陸螆妭摙
鲮閼貊筧。驌瀷䀰跤孭妭摙鲮閼貊筧。帩喺䧸穚貊貊筧。榙楁孭蹺潣談䅳諎媘貊筧。醎雩
鄐鲮閼貊筧。踹䧍蹺咲諎媘貊筧。懴陸穚貊貊筧。鯆竑濕啯鲮閼貊筧。趼鲷暀梪㜁載鲮閼
貊筧。醢犦鲮閼貊筧嶗跤蹺穚貊貊筧訵訵、
PETER RUZICKA CONDUCTOR
eter Ruzicka was born in Duesseldorf on July 3, 1948. He received his early musical
P
training (piano, oboe and composition) at the Hamburg Conservatory. Studies in
composition with Hans Werner Henze and Hans Otte. He studied law and musicology in
Munich, Hamburg and Berlin (doctoral thesis: Berlin, 1977). The list of his compositions
includes numerous orchestral and chamber works as well as the opera "Celan", which
was premiered in Dresden in 2001. His new opera "Hoelderlin" was premiered at the
Berlin State Opera in 2008.
Peter Ruzicka was appointed professor at the Hochschule fur Musik und Theater Hamburg in
1990. The composer is a member of the Bavarian Academy of Fine Arts in Munich and of the
Free Academy of Arts in Hamburg.
Peter Ruzicka's works were performed by leading international orchestras and ensembles like the
Berlin Philharmonic Orchestra, the Vienna Philharmonic Orchestra, Symphony Orchestra of the
Bavarian Radio Munich, German Symphony Orchestra Berlin, NDR Symphony Orchestra, Dresden
Staatskapelle, Munich Philharmonic Orchestra, Bamberg Symphony Orchestra, Gewandhaus
Orchestra Leipzig, Tonhalle Orchestra Zurich, Royal Concertgebouw Orchestra Amsterdam,
Philharmonia Orchestra London, Philharmonic Orchestra de Paris, Czech Philharmony, Radio
Symphony Orchestra Vienna, Israel Philharmonic Orchestra, Symphony Orchestra Montreal
and the New York Philharmonic Orchestra. Conductors like Gerd Albrecht, Vladimir
Ashkenazy, Semyon Bychkov, Riccardo Chailly, Christoph Eschenbach, Michael Gielen,
04
頯梮咲鞯鄻䯙THE ARTISTS
Paavo Jarvi, Mariss Jansons, Kurt Masur, Antonio Pappano, Giuseppe Sinopoli and Christian
Thielemann have performed his works.
Peter Ruzicka was artistic director of the Berlin Radio Symphony Orchestra from 1979 to 1987
and director of the Hamburg State Opera and the State Philharmonic Orchestra from 1988 to
1997. Moreover, he was Artistic Advisor of the Royal Concertgebouw Orchestra in Amsterdam
from 1997 to 1999. In 1999 he was named President of the Bavarian Theatre Academy. From
2001 to 2006, Ruzicka took over the Artistic Directorship of the Salzburg Festival. At present
he is artistic director of the Munich Biennale having succeeded Hans Werner Henze in 1996.
As a conductor of his own and other works, Peter Ruzicka has directed the German Symphony
Orchestra in Berlin - recording CDs of music by Mahler, Pettersson and Schreker - the Royal
Concertgebouw Orchestra, the Sachsische Staatskapelle Dresden, the Gewandhausorchester
Leipzig, the Symphony Orchestra of the Bavarian Radio, the NDR Symphony Orchestra
Hamburg - recording a cycle of 12 orchestral works by Hans Werner Henze the Bamberg
Symphony Orchestra, the Radio Symphony Orchestra Stuttgart, the SWR Symphony Orchestra
Baden-Baden and Freiburg, the WDR Symphony Orchestra Cologne, the Radio Symphony
Orchestra Frankfurt, the MDR Symphony Orchestra Leipzig, the Munich Philharmonic, the
Orchestra of the German Opera Berlin, the Vienna Symphony Orchestra, the Danish National
Orchestra, the Czech Philharmonic Orchestra, the Orchestre symphonique de Montreal, the
Yomiuri Nippon Symphony Orchestra Tokyo, the Shanghai Symphony Orchestra and the China
Philharmonic Orchestra among others.
米夏埃拉·考内 女高音
孭蹺偔䗮䌄貏侢≧惛·鍊廟嶗榙楁孭嶯宺潣談䅳諦慘饅跀踎哣、2011妘䯖偝⺖戦鲂＃榙
楁艎咲偔潣忲￥蠙誑、鮪㫥㳚䯖偝䒅甡艊㓕頥藥愥絔榺·昤竑俠昤〔粯縁䖧佖〕跤艊廬壋
俓鳏䯖䇖鄐賽陸〔鎑俓鄐〕跤艊讜謖㓕頥䯒㛫談啔嬟寚僨 DVD䯓䯖壉㳚䎑〔嬐嬱·樴驌働
昤〕跤艊≧愛·倿螆孭䯖飨倀罁樴鄐〔鈵峐樴楁〕跤艊頴啯騚、
05
貏侢≧惛·鍊廟桪⺖㮍㛽勢瑪跫翨餱縶廟艊䎈
啱鄀潣談䅳㫧
甡熱䯖謾跤藥愥䯤鮪墴䧵蹺咲
潣談䅳嶗瀕鲋譯鲷艊跤蹺蹺咲甡熱頯梮跤宆䒅
甡〔粯縁䖧佖〕跤艊廬壋俓鳏䯖鮪䖂孭㳚嶗紬
㠣樴跏鰱艊潣談䅳飨倀壉㫊蟬昤罁樴鄐䌄貊頺
醢䒅甡〔偔澓蜶〕跤艊䩷樴綕孭䯖鮪趼鲷昦蹺
襫談䅳䒅甡〔鎑犧僨〕跤艊讜謖踽㓕、
偝桪鮪帩喺䧸醮墴鼹濕鲡妭摙諎媘貊筧諦
慘䯖鮪䖂陸昤·壉䞝㡱艊〔鈵鴸蹉〕跤䒅甡驌暪
㜀啯䯒藥愥贋醮㛫談艊CD嫚䌄䯓䯥鮪倿鰱濕樴
惛馂甡緋䖂寫〔訅馬鲮閼桏〕䯥鮪榙楁甡緋㠣侸
颣〔訅謦鲮閼桏〕䯥鮪墴䧵嶗譯鲷甡緋銷絆樴
〔詁䈈躐潣〕䯥醮㯛梋嶗啢抲綖咲呧侸㳚諦慘䯖
贋鎢鑫2015妘蓴寫飝苩樴-駻啯昤燚罌䌄貊頺踵
陸㳚昤侸俓·頴欨墴㡱蹁窩艊酽鯫妷蜵䌄貊∥、
鞲2007妘勢2011妘䄄䯖鍊廟鮪瀯妘艊愊鈵黥竑䌄貊頺醢甡緋鑫〔鄟愛ー艊謖潣忲〕
跤艊黥儫、澑侳䯖偝呯梕熱粷鮪帩喺䧸墴鼹濕鲡蹺襫潣談䅳嶗孭䈈昤䎑蹺襫潣談䅳䯖妛
糴㮍鮪墴䧵蹺咲潣談䅳。醎雩鄐蹺咲潣談䅳。趼鲷昦蹺襫談䅳。䅏働昤竑踹駻賣潣談
䅳。壉䞝丠啯艎咲䀇壆嗁談䅳。暀廟罁俋談䅳。呏竑氈杚樰竑媈惛顐潣談䅳䯖飨倀鬰
啯馂ー䌄貊頺。愊鈵黥竑䌄貊頺。惛醎喺鲡䌄貊頺。壉㫊蟬昤䌄貊頺。慚鈵愛鬰鲕桸
䌄貊頺。熴蹺妭摙䌄貊頺。醭棾檚䌄貊頺。鄟郿則廟▕䌄貊鄭嶗暀梪NHK鲮閼貊筧訵
䅳筧甡熱、
梥棾艊甡熱跤䯖鍊廟啔贋甡䇖鄐賽陸〔則長·則墴㜀儫〕。孭焿侢陸〔䉃騚則〕。
絔榺·昤竑俠昤〔䅏㳚䅏孭犾鮪鄐踆昤噿〕嶗〔䅏惛㠣惛〕跤艊讜謖踽㓕䯖絔榺·昤竑俠
昤〔䆠嶎桏〕跤艊絆穞俓鳏。儨啯訅〔倿㡡鈵〕跤艊燚昤筎鯆兙䯖槒蟨俓昤▕〔誥羴
苼喺·倿犾㳟〕跤艊⿺▕鲡兙䯖䋷絆〔䙬媯啑忲〕跤艊䅏鎢騚䯖杚梋陸〔鎢啯䧿鈵∥販偔
艊唻㛣〕跤艊艀梋㛝䯖昤銊⿺㮰〔⺖熱載艊昦劧児〕跤艊粓蹉䯖啢郿錪·昻竑俠昤〔䦛
䲠〕跤艊鈵騚鯆孭䯖飨倀㠣侸颣〔㠿孭㳚倿〕跤艊驌暪㜀啯、
醮貏侢≧惛·鍊廟諦慘㫓艊慇慽咲藥愥䯤蜫哅·檚⿺。陸㳚昤侸俓·頴欨墴㡱。㒂
鯆喺·椂。陸㳚昤鮩呏·鮩寫桞。䖂寫陸·䇖㜀俓昤▕。蜫峐·䖂詵啯。䂏㳜擊。陸㳚昤怐
俓·疛孭燒馂▕。䖂陸·䄅詵俓昤▕。鎢㳚·㠣鮩喺。媈㳚孭桞·驌鎑。昤鮩颣·踆啯竑昤。黥
彯·檚貿䖂潛啯。䖂姈昤·昤鬢馂。鈵煛·忶樴鈵鞈陸。髤濕杚·郿踹。䖂陸·䅏啯壉䈈壔竑。
06
頯梮咲鞯鄻䯙THE ARTISTS
嬐嬱·昻鍜孭。頴愛·諮啯絆竑。踹喺昤·鈵踃·忂醎昤。≧鬰-蟬則·鬰爔呂。黥濕鲡钘·瀊墴
啯。俋歓餚漛䯖飨倀嬐嬱·䞝䩷馂則訵訵、
鍊廟艊甡緋桏茩哃熼䯖㒉苼鑫墴爔陸勢21跫鄅艊䌄貊慘閔、偝桭踵摾䂏甡緋䖂寫嶗
絔榺·昤竑俠昤艊慘閔、偝桪鮪孭踙昤䎑䌄貊頺。燆峐蹺䅕㠣侸颣䌄貊頺。昤蹕鎢竑䇹楇·
焿啯俓叧䅳䯖飨倀蓴寫飝苩樴-駻啯昤燚罌䌄貊頺訵鰱蹁窩㫓頯梮潣桏箏緋∥、桪醮偝諦
慘㫓艊㾱綖咲藥愥陸㳚昤侸俓·頴欨墴㡱。犦啯袣竑·孭曀嗕。頴啯旝·鎢倇。頴緤陸·昻鍜
孭訵訵、
鍊廟艊嫚䌄慘閔藥愥俋歓餚漛慇慽烲㜀儨NDR鲮閼貊筧艊絔榺·昤竑俠昤〔諎媘潣
桏䇗〕䯖嬐嬱·䞝詇䩷則慇慽烲ーNDR鲮閼貊筧艊鲳詇〔侺桏醮嶁諏㜉〕䯖蜫峐·䖂詵
啯慇慽趼鲷NHK鲮閼貊筧艊䖂寫〔訅鲈鲮閼桏〕䯖呏趼喺·儨竑慇慽雲煛鲮閼貊筧艊
疛孭燒馂▕〔訅馬鲮閼桏〕䯒＃晹夠躐潣￥䯓䯖飨倀踵榙楁孭嶯宺潣談䅳飨DVD嫮媀嫚
壽艊䇖鄐賽陸〔鎑犧僨〕、
貏侢≧惛·鍊廟熱羠鲋烲ー䯖鮪烲ー䌄貊叧䅳壎鞲梲㫶昤·㠣陸桞斊戦、偝桪鮪醎雩鄐
銊杛咗佪貊俋㡡䯒1996妘䯓跤驔値䯖妛鮪1999妘驔嬱孭蹺彽談咲鄖∥䎓僨艊倿怐·則昤
竑欨値、澑侳䯖偝㫤驔嬱鑫烲ーNDR鲮閼貊筧䎓僨艊䌄貊値、
MICHAELA KAUNE SOPRANO
German Soprano Michaela Kaune has a strong relationship to the German Opera Berlin. In
2011 she was awarded as Berliner Kammersängerin . Here she sings roles such as Marschallin in
DER ROSENKAVALIER, the title role in JENUFA (the DVD will be released shortly), Ellen Orford
in PETER GRIMES and Elsa in LOHENGRIN.
Michaela Kaune is invited to major opera companies all over the world, including: Marschallin
in DER ROSENKAVALIER at the Opera National de Paris and at the China National Centre for the
Performing Arts, Beijing, as Sieqlinde in WALKURE in Bamberg, Madrid und at the Budapest
Wagner festival as well as JENUFA at the New National Theatre, Tokyo.
Concert: Leonore in Max Bruch's LORELEY with the Bavarian Radio Orchestra, Munich
(including CD production), Mahler's 8. SYMPHONIE in Graz, Beethovens 9 SINFONIE in Berlin,
Schonberqs GURRE-LIEDER in Beijing and Paris, a celebration concert for Chrstoph Eschenbach
(with Lanq-Lanq and Midori) at the Schleswig-Holstein Music Festival 2015.
07
From 2007-2011 the artist sang"Eva" in DIE MEISTERSINGER at the Bayreuth Festival Furthermore,
she appeared regularly at the Bavarian State Opera Munich and at the Semperoper Dresden and
was invited to the Opera National de Paris, the Vienna State Opera, the New National Theatre
Tokyo, the Nederlandse Opera, Amsterdam, the Théâtre de la Monnaie Brussels, the Grand
Théâtre de Genève and the Vlaamse Opera, Antwerp, as well as to the Salzburg Festival, the
Bayreuth Festival, the Ravinia Festival, the Budapest Festival, the Maggio Musicale in Florence,
the Festival de Radio France, the Bremen festival, the Carnegie Hall New York and to the NHK
Symphony orchestra Tokyo.
Further important repertoire: the title roles of KATJA KABANOVA, RUSALKA, ARIADNE AUF
NAXOS and ARABELLA, Countess in CAPRICCIO, Desdemona in OTELLO, Tatjana in EUGEN
ONEGIN, Agathe in DER FREISCHUTZ, Blanche in LES DIALOGUES DES CARMELITES, Marie in
THE BARTERED BRIDE, Rosalinde in DIE FLEDERMAUS and Leonore in FIDELIO.
Michaela Kaune works with conductors such as: Zubin Metha, Christoph Eschenbach, Simone
Young, Christian Thielemann, Marek Janowski, Jun Markl, Kent Nagano, Krzysztof Penderecki,
Marc Minkowski, Gary Bertini, Friedemann Layer, Stefan Soltesz, Ingo Metzmacher, Markus
Stenz, Lothar Zagrosek, Philippe Jordan, Marc Albrecht, Peter Schneider, Alan Gilbert, Dennis
Russell Davies, Esa-Pekka Salonen, Eliahu Inbal, Eji Oue, Peter Ruzicka to name some.
Her broad concert repertoire reaches from baroque to the 21st century. A special importance
have the works by Mahler and Strauss. With LIED RECITALS she has been heard f.e. at the
Dresdn Music festival, at the International Beethovenfest in Bonn, the Hugo Wolf Academy,
Stuttgart and at the Schleswig-Holstein Musik Festival. She collaborated with pianists like
Christoph Eschenbach, Helmut Deutsch, Irwin Gage, Eric Schneider etc.
Recordings: STRAUSS ORCHESTRA SONGS with NDR Hannover under Eji Oue, Henze's
NACHTSTOCKE UND ARIEN with NDR Hamburg under Peter Ruzicka, Mahler's 2nd SYMPHONY
with NHK Symphony Orchestra Tokyo under Jun Markl and Penderecki's SYMPHONY NO. 8
(Lieder der Vergänglichkeit) with the Warsaw Symphony Orchestra and Antoni Wit and
Janacek's JENUFA on DVD Deutsche Oper Berlin.
Michaela Kaune was born in Hamburg and studied with Prof. Judith Beckmann at theMusic
Academy of her hometown. She has been a prize winner at the BelvedereWettbewerb in Vienna
(1996), was awarded the Otto-Kasten-Preis of the Deutsche Buhnenverein in 1999 and the Music
award of the NDR Hamburg.
08
頯梮咲鞯鄻䯙THE ARTISTS
藤村实穗子
鶵棡呺袹厸熱羠鲋暀梪䯖桪喥㜁鲋趼鲷俋
叧嶗帩喺䧸䌄貊醮彽談叧䅳、鮪鎢駱倿鰱濕樴
惛馂潣談䅳躐頌䯖偝喥墱㡨嬱醭㚧謾斶艊蹺䅕
佪貊瀷㡡俋値、1995妘勢2000妘䄄䯖偝鮪㛫䅳
䒫漛甡緋鑫㚾侸槪宺屟㓕頥、
鶵棡呺袹厸鮪2002妘艊帩喺䧸潣談頯梮頺
嶗愊鈵黥竑頯梮頺醢驔嬱鑫蹺䅕燍茩䯖罌澑彾
踵鑫㚾侸跫翨酽牐潣談䅳艊咃姫潣緋咲䯖謾跤
藥愥鍊旝竑颭艤艎咲潣談䅳。貏賣昤則惛潣談
䅳。墴鼹濕鲡蹺襫潣談䅳。醎雩鄐蹺襫潣談
䅳。墴䧵啢╙ー潣談䅳。䖂孭㳚艎咲潣談䅳。
孭蹺榙楁潣談䅳。愊鈵黥竑頯梮頺。慚鈵愛鬰
鲕桸䌄貊頺談䅳嶗杚鈵暟昤≧陸昤梪䌄貊頺、鮪䌄貊∥甡熱跤䯖偝醮䎈啱貊筧諦慘甡
熱䯖妛鮪暀梪呯梕惔麇咃姫頯梮咲、
偝㫪醁謦妘舽醢愊鈵黥竑䌄貊頺艊鞡詬䯖怹甡㫓艊㓕頥藥愥〔壦㒂熴啯〕跤艊厽孭
蹉。〔竑㳚昤鬢醮黥踆啯孭〕跤艊壉賣羕竑。〔驌馢艊䧫㳟〕跤艊哱蹉則嶗≧啯㫊䯖飨
倀〔
蜶艊䧫暻〕跤艊罁啯竑爔孭、
鶵棡艊潣談甡緋㓕頥藥愥厽孭蹉。壉賣羕竑。哱蹉則。則䃸。〔騖㝰丠〕跤艊醎鄐
昤。〔粯縁䖧佖〕跤艊倿陸⿺旝。〔騖·則爔〕跤艊頴燆験。〔珪酈㛝鳏〕跤艊䅏蜫賽
兙䯖飨倀〔䅏賜㫊〕跤艊呏働犾蹉趺、偝艊䌄貊∥甡緋桏茩藥愥儨啯訅〔呏䙙桏〕䯖罁
樴鄐〔醎欨鷗陸潣桏〕䯖䖂寫〔俋鰱躐潣〕。〔讞㠣陸躐潣〕。〔啨妘䙬誑〕。〔訅鲈
鲮閼桏〕。〔訅醑鲮閼桏〕嶗〔訅馬鲮閼桏〕、醮偝諦慘㫓艊魳謖慇慽咲桹䯤陸俠㫶倿·
䅏墴侸。㯞暺銷。陸㳚昤侸俓·頴翂墴㡱。鲡嫕·㠿鞈啯。熴瀷倿·㣵曀昤。陸㳚昤鮩呏·鮩
寫桞。姈啯竑·䖂鞐啯飨倀嬐嬱·昻鍜孭䯖偝鮪箏緋䌄貊∥跤㫤醮陸㳚昤怐媈·躜啯㳚壔·㫔
鎑啯桹㫓諦慘、
鶵棡醮呏趼喺倿·壦壦㜀諦慘䯖踵EMI詁鉚嫚壽鑫〔竑㳚昤鬢醮黥踆啯孭〕跤艊壉賣
羕竑酽㓕䯖醮䖂㳚昤·椂椡昤嶗墴鼹濕鲡妭摙鲮閼貊筧嫚壽鑫銷絆樴〔詁䈈躐潣〕䯖醮斛
鄐欨·㜀竑嶗紬㠣樴鲮閼貊筧嫚壽鑫䖂寫〔訅醑鲮閼桏〕䯖醮陸㳚昤鮩呏·鮩寫桞嶗醎雩鄐
09
穚貊貊筧嫚壽鑫㠣侸颣〔訅謦鲮閼桏〕、偝嶗㾱綖咲焿啯俓惛働·㳚樴啯諦慘䯖踵Fontec
緋穻駡誒嫚壽鑫跏媑箏緋䌄貊∥緋穻䯖桏茩藥愥罁樴鄐。䖂寫。鞐絆竑。絔榺·昻竑俠
昤。綫惛働昤嶗鞐桞艊慘閔、
鮪䌄貊∥跤䯖偝桪掓忲甡熱艊貊筧桹䯤䦤竑踹穚貊貊筧。䇖喺陸·喺燯-丠閩欀醣艊愛
斣穚貊貊筧。㬙㭲䌄貊∥醢㜨飰·瀷倝蟨俓慇慽艊BBC鲮閼貊筧。踹喺啯·閾酾嶗蟨楁·忂醎
昤穞佖慇慽艊愛斣鲮閼貊筧。陸㳚昤侸俓·頴欨墴㡱慇慽艊墴䧵諎媘貊筧。榺啯昤·㫶蹕罁
慇慽艊㠿╙諎媘貊筧。䂏㳜擊慇慽艊鯆竑濕啯鲮閼貊筧。喒㳚·燚貏則㜀俓嶗姈啯竑·䖂鞐
啯慇慽艊鈵䖂鮒賽倝㳚鲡䌄貊叧䅳貊筧。㯞暺銷慇慽艊趼鲷穚貊貊筧。呏孭㳚昤·喺啯欨
昤慇慽艊絆暺錪╙壈鲮閼貊筧。䖂㳚昤·椂椡昤慇慽艊墴鼹濕鲡妭摙鲮閼貊筧嶗䅏働昤竑
踹艎咲∥⊕諎媘貊筧。陸㳚昤鮩呏·鮩寫桞慇慽艊帩喺䧸穚貊貊筧嶗醎雩鄐穚貊貊筧䯖飨
倀㒂鯆·惛竑嶗絆鄐孭·犦烠陸慇慽艊榙楁穚貊貊筧、
2014妘䯖鶵棡呺袹厸罌謾鮪扢誤叧梮嶗頯梮㫧澒昷䉳艊彾喥䯖驔嬱鑫暀梪敤姛䎓僨
艊踕醓㐓覈、
MIHOKO FUJIURA
Mihoko Fujimura was born in Japan and studied at both Tokyo University and the Münchener
Hochschule für Musik. She won numerous international singing competitions before joining
the ensemble of the Graz Opera from 1995 to 2000, where she sang many of her signature roles
for the first time.
She came to international attention in her performances at the 2002 Munich Opera Festival
and the Bayreuther Festspiele and has since become a regular guest at the Royal Opera House,
Covent Garden, Teatro alla Scala Milan, Bayerische Staatsoper, Wiener Staatsoper, Theatre du
Chatelet, Teatro Real Madrid, Deutsche Oper Berlin, Bayreuther Festspiele, Maggio Musicale
Fiorentino and the Aix-en-Provence Festival. In concert she appears with the world's leading
orchestras and is a regular guest artist in Japan.
She has appeared at the Bayreuth Festival in nine consecutive seasons, singing Kundry,
Brangäne, Fricka, Waltraute and Erda.
10
頯梮咲鞯鄻䯙THE ARTISTS
Miss Fujimura's operatic repertoire includes Kundry, Brangäne, Venus, Fricka, Idamantes,
Octavian, Carmen, Eboli, Azucena and Amneris. Her concert repertoire includes Verdi's
"Requiem", Wagner's "Wesendonck Lieder" and Mahler's "Das Lied von der Erde"; "Rückert
Lieder"; "Des Knaben Wunderhorn" and Symphonies No.2, 3 and 8. She appears regularly
with conductors such as Claudio Abbado, Myung-Whun Chung, Christoph Eschenbach, Adam
Fischer, Fabio Luisi, Christian Thielemann, Kurt Masur and Peter Schneider and in recital with
Christoph Ulrich Meier.
She has recorded Brangäne ("Tristan und Isolde") with Antonio Pappano for EMI Classics,
Gurrelieder with the BRSO and Mariss Jansons, Mahler 3 with the Bamberger Symphoniker and
Jonathan Nott, and Beethoven 9 with Christian Thielemann and the Wiener Philharmoniker.
For Fontec she has released two solo recital discs with pianist Wofram Rieger, singing works by
Wagner, Mahler, Schubert, Strauss, Brahms and Schumann.
In concert she appears with the Rotterdam Philharmonic Orchestra and the London
Philharmonic Orchestra and Yannick Nézet-Séguin, the BBC Proms with the BBCSO and
Semyon Bychkov, the London Symphony Orchestra with both Daniel Harding and the late Sir
Colin Davis, the Orchestre de Paris with Christoph Eschenbach, the Philadelphia Orchestra
with Charles Dutoit, the Montreal Symphony with Kent Nagano, the Accademia Santa Cecilia
and Yuri Termikanov and Kurt Masur, the Tokyo Philharmonic and Myung-Whun Chung, the
City of Birmingham Symphony Orchestra and Andris Nelsons, both the Bayerische Rundfunk
Sinfonie Orchester and the Royal Concertgebouw Orchestra with Mariss Jansons, both the
Münchner Philharmoniker and the Wiener Philharmoniker with Christian Thielemann, and
the Berliner Philharmoniker with Bernard Haitink and Simon Rattle.
In 2014 she was awarded the Purple Ribbon Medal of Honour by the Japanese Government for
her contribution to academic and artistic developments, improvements and accomplishments.
11
尼古拉·舒科夫 男高音
倿鰱濕翇䗮䌄潣緋咲喺詁惛·鞐蟨俓熱羠鲋
樴惛馂䯖曧蹺䅕潣談嶗䌄貊∥鞡詬醢桭桹頌㬠
艊昦曐躐酽、鮪鬰啯馂ー騿忶竑䌄貊叧䅳呝彾
叧趵躐謚䯖骼鲋1996妘5桸鮪孭蹺苼啯欨▕蠻
䒫漛舽詬䯖䒅甡〔馣颭偔〕跤艊䅏啯媈䈈孭、
鮪苼啯欨▕蠻甡熱梕䄄䯖骼喥墱鄽糴㮍頌嬔鬰
啯馂ー。棯丠啯侸俓驌峐孭嶯宺潣談䅳。㳚暪
潣談䅳。墴䧵啢╙ー潣談䅳。墴䧵輟潣談䅳嶗
峾喺潣談䅳訵鰱甡熱鑫、
2006妘12桸䯖鞐蟨俓鮪榙楁䒅甡鑫䌄貊∥
穼艊〔偔澓蜶〕訅酽奟跤艊䩷樴鯆孭䯖妛鮪
2007妘4桸艊墴鼹濕鲡蹺襫潣談䅳䒅甡鑫〔壦
㒂熴啯〕跤艊踽㓕、㫥跏跣桖哱彽談屟艊㓕
頥䯖踵骼夃棾鑫蹺䅕褃蕚、
2012靧2013貊叝酽婩僔䯖鞐蟨俓喥鮪灧孭ー甡熱鑫〔澤鬰則〕跤艊粀厸䯖妛糴勢䗮
姪偡㛊、扟醣棾䯖骼鮪墴䧵墴佖姌潣談䅳甡熱鑫昦壽慘〔則䃸〕跤艊騖·駁丠䯖妛鲋2013
妘2桸䒫漛舽醢鄟郿俋㰊∥潣談䅳艊鞡詬䯖甡熱鑫讜酽㓕頥、澑謚䯖骼䒅甡艊㓕頥藥愥
鮪㳚暪嶗穚酾ー䌄貊頺昦壽慘艊〔㠿孭㳚倿〕跤䒅甡媈爔愛昤鬢䯖妛鮪熴賣陸螆贋鎢鑫
䖂寫〔訅馬鲮閼桏〕艊甡熱、
2013靧2014貊叝艊甡熱藥愥鮪鈵䖂喺鲡艊≧廟昤姈䌄貊頺醢甡熱鑫〔詁䈈躐潣〕跤
艊罁啯孭粓䯖鮪蟨䆗潣談䅳䒅甡〔怐昤則〕跤艊則罁惛侸壔䯖鮪雲茊䎑甡熱〔壦㒂熴
啯〕訅醑奟䯖鮪罁愛㒂鲡羾蜫哅·檚⿺慇慽甡熱〔偔澓蜶〕跤艊䩷樴鯆孭䯖醮榙楁穚貊貊
筧諦慘甡熱棜昤竑〔犛佖孭鲮閼桏〕䯖鮪烲ー䒅甡昦壽慘〔則䃸〕跤艊騖·駁丠䯖鮪倿鰱
濕壉䈈樰馂䌄貊頺醢怹甡〔䙬觪〕跤艊燚貏㜀嶗倿鰱濕㪇潣談慘桏咲驌閾啯艊〔媈䈈孭
㳚則〕、
梥棾艊甡熱㚧陝藥愥䯤鮪䅏働昤竑踹甡熱昦壽慘艊〔鈵峐樴楁〕䯖鮪墴䧵墴佖姌潣
談䅳甡緋䖂寫〔俋鰱躐潣〕䯖鮪墴丠鈵㮰濕㡡倿俋談䅳䒅甡〔則䃸〕跤艊騖·駁丠䯖鮪孭
踙昤䎑艊酽鯫䌄貊∥跤甡熱妛嫚壽郿錪·昻竑俠昤艊〔諮杚㡡翇穞〕嶗〔騖·則爔昤〕跤艊
翇踽㓕、澑侳䯖骼㫤∥鮪烲ー嶗墴䧵艊〔䙬媯啑忲〕䌄貊∥甡熱跤䒅甡䖂陸昤䯖鮪譯鲷
12
頯梮咲鞯鄻䯙THE ARTISTS
嶗醢犦羾嬐嬱·䞝詇䩷則慇慽甡熱銷絆樴艊〔詁䈈躐潣〕䯖鮪帩喺䧸掟敤粀談䅳醮墴鼹濕
鲡妭摙鲮閼貊筧諦慘甡熱郿緥俓·瀷啯昤〔燆賣鳏艊凗蛷〕䯖鮪䋺蹺甡熱㠣侸颣〔訅謦鲮
閼桏〕䯖鮪㳚暪甡熱〔笻俒偔〕跤艊黥濕鲡搮䯖鮪杶濕甡熱〔䖂閾灧喺╙艊蠻
〕跤艊
諮働·䖂閾灧喺䯖鮪䖂孭㳚艎咲俋談䅳嶗㒂䇖蹕甡熱〔甅熥艊駻賣鳏〕跤艊≧㳚陸䯖鮪蹕
澤貿甡熱〔姌鰱〕跤艊嬐嬱鈵訵訵、
NIKOLAI SCHUKOFF TENOR
The Austrian tenor, born in Graz, is one of the promising young voices on the international
opera and concert circuit. After his studies at the Mozarteum Salzburg, he had his successful
debut in May 1996 as Alfredo in LA TRAVIATA in Gelsenkirchen (Germany). While "en troupe"
in Gelsenkirchen, he was already invited for guest appearances to the Deutsche Oper am Rhein,
Dusseldorf, to Salzburg, the Opera de Lyon, the Theatre du Chatelet and to the Opera Comique
in Paris as well as to the Scottish Opera and to the Sydney Opera.
The international break through came with more dramatic roles such as Siegmund in a concert
version of WALKURE's first act at the Philharmonie Berlin in December 2006 as well as Parsifal
at the Bavarian State Opera Munich in April 2007.
2012/13 started with a highly acclaimed Prince in a new production of RUSALKA in Gothenburg
and continued with Don Jose in a new production of CARMEN at the Opera de Paris/Bastille and
was topped in February 2013 by the artist's debut at the MET, also with Don Jose in CARMEN.
Further engagements included Florestan in a new production of FIDELIO in Lyon and at the
Edinburgh Festival, Parsifal in Hamburg and in Munich, as well as concerts with Mahler's 8th
SYMPHONIY in Frankfurt.
2013/14 includes engagements such as Waldemar in GURRELIEDER at the Enescu Festival,
Cavaradossi in TOSCA at the Cologne Opera, concerts with the 3rd act of PARSIFAL in
Washington DC, Siegmund in a production of WALKURE under the baton of Zubin Mehta in
Valencia, Liszt's FAUST SYMPHONY with the Berlin Philharmonic Orchestra in Berlin, Don Jose
in a new production of CARMEN in Hamburg, Turiddu in CAVALLERIA RUSTICANA in Toulouse,
PARSIFAL in Munich, OEDIPUS REX in Paris, Tamino in MAGIC FLUTE as well as Lehar's FIEBER
at the Bregenz Festival, etc.
13
Further projects included: LOHENGRIN in a new production in Amsterdam, Mahler's LIED VON
DER ERDE at the Bastille in Paris, Don Jose / CARMEN at the Liceu in Barcelona, Johann Strauss'
ZIGEUNERBARON in a concert performance and for a CD recording and the title part in DON
CARLOS in Dresden.
Future events: Max / DER FREISCHUTZ in concert performances in Hamburg and Paris, concerts
with Schonberg's GURRELIEDER under Peter Ruzicka in Beijing and Shanghai, Joseph Beers
DIE POLNISCHE HOCHZEIT as concert performance with the Bayerische Rundfunk at the
Prinzregententheater in Munich, concerts with Beethoven's NINTH SYMPHONY in Korea,
Eleazar/ LA JUIVE in Lyon, Jim Mahoney / MAHAGONNY in Chile, Erik / DER FLIEGENDE
HOLLANDER at the Teatro Real in Madrid and in Seattle, Pedro / TIEFLAND in Toulouse, etc.
安德烈亚斯·康拉德 男高音
2015/16甡熱叝䯖呏孭砮鲡昤·姾惛孭啔鮪愊鈵黥竑䌄貊頺醢甡羾▕㳚啯·蟬竑㫪蟨慇慽艊
〔驌馢艊䧫㳟〕嶗〔䩷樴媈㳚孭〕跤䒅甡＃貏檚￥䯖鮪趼鲷昦蹺襫談鯫醢甡艊〔驌馢艊䧫㳟〕
跤䒅甡＃貏檚￥䯖鮪醎雩鄐熅翵談鯫醢甡。羾槇
廟翽昤·檚昤竑慇慽艊〔嬐嬱·樴㡜働昤〕跤䒅甡
＃䞩綫·䞩寫昤￥䯖鮪墴䧵醢甡艊銷絆樴〔詁䈈
躐 潣〕嶗䅏㳚 燆竑 · 㡜 桞〔棜 啯〕跤鰓 時䒅甡
＃陸俠昤·鄐啯￥嶗＃頴孭鯆孭￥、
2016妘侢䯖姾惛孭啔鮪愊鈵黥竑䌄貊頺醢
甡。羾䖂䈈陸·䇖㜀俓昤▕慇慽艊〔驌馢艊䧫
㳟〕嶗〔䩷樴媈㳚孭〕跤䒅甡＃貏檚￥、2017
妘䯖姾惛孭啔鮪墴䧵醢甡艊〔䙬觪〕嶗鲡鄐賽
陸〔潣談澰躐嗙〕甡熱䯖妛㳛螻趼鲷䒅甡〔䩷
樴媈㳚孭〕跤艊＃貏檚￥、
© MOLINAVISUALS
14
頯梮咲鞯鄻䯙THE ARTISTS
2004/2005甡熱叝䯖姾惛孭鮪榙楁輟潣談䅳訅酽漛䒅甡㠣啯樴〔焿㳕陸〕跤艊＃㝰杚
桞￥䯖㫥雩懲骼⺖駡㚪踵曧酽謖桹忴镾艊㛺緋翇䗮䌄、躐謚骼鮪醎雩鄐䌄貊頺䯒踹喺啯·
閾酾慇慽䯓嶗墴䧵墴佖姌潣談䅳雩䒅甡鑫㛫㓕頥、2009妘䞝啯頯梮頺䯖姾惛孭䒫漛鮪銷
絆樴〔揦㒂醮鲡愛〕䯒儨濕·忂陸壽慘䯓跤䒅甡＃鲡愛￥、㫥懲骼彾嗚㩸黌彾酽謖彾祾艊
㓕頥翇䗮䌄、讜妘䯖骼鮪雲茊䎑潣談䅳䒫漛䒅甡〔䩷樴媈㳚孭〕跤艊＃貏檚￥、
2011妘鮪鯆竑則爔潣談䅳䯖姾惛孭䒫漛鮪昻竑俠昤〔騚貊銊〕䯒䅏鞈·㠿鳘慇慽䯓跤
䒅甡＃壔嬣￥、讜暚䯖骼鮪侸跣談䅳䒅甡㫥酽㓕頥䯖藥愥2014妘鮪帩喺䧸墴鼹濕鲡蹺咲
潣談䅳、2012妘鮪榙楁穚貊俋鄭䯖姾惛孭䒫漛䒅甡〔驌馢艊䧫㳟〕跤艊＃貏檚￥、甡熱
羾䖂䈈陸·䇖㜀俓昤▕慇慽䯖妛⺖嫚壽彾CD、
2014妘鮪鯆竑則爔潣談䅳䯖姾惛孭䒫漛鮪〔驌馢艊䧫㳟〕䯒諮呏㣵曀諮•椌檚訅慇
慽䯓跤䒅甡＃爔樴￥、讜妘鮪暀廟罁䯖骼䒫漛鮪〔慇粶〕瑪談䯒餚樴.檚馂䖂㡱啯慇慽䯓
跤䒅甡鑫＃貏檚￥、2015妘鮪帩喺䧸嶗愊鈵黥竑䌄貊頺䯒▕㳚啯·蟬竑㫪蟨慇慽䯓䯖姾惛
孭㰊䒅甡鑫〔驌馢艊䧫㳟〕嶗〔䩷樴媈㳚孭〕跤艊＃貏檚￥、
姾惛孭鎲趵羠猌跤謾骼過嬱饅燍艊甡熱㫤藥愥2014妘䒅甡鮪孭踙昤䎑欨壦潣談䅳醢
甡艊〔䦛䲠〕跤艊＃頴欨昤鬢￥嶗鮪醎雩鄐熅翵談鯫醢甡艊槒蟨俓昤▕〔偔墧壎〕跤
艊＃牋昤￥䯥2012妘贋醮羾㒂啯醐·姾壉寫賣慇慽㒂攢孭妭摙鲮閼貊筧慘墘螻甡熱艊〔揦
㒂醮鲡愛〕䯒甡熱嫚䌄雩驔嬱鑫値䎋䯓䯥2011妘贋醮鮪鬰啯馂ー䌄貊頺醢甡。羾陸㳚昤
鮩呏·鮩寫桞慇慽艊〔煫桹嬁厸艊偔鳏〕䯒甡熱雩⺖嫚壽彾DVD䯓䯥2007妘贋醮鮪醎雩鄐
嶗杚鈵暟昤艊頴陸昤䌄貊頺醢甡。羾芕≧啯·壉燒貿慇慽艊鲡鄐賽陸〔澰躐嗙〕䯒甡熱雩
⺖嫚壽彾DVD䯓飨倀躐謚鮪鄟郿俋㰊∥潣談䅳嶗貏賣昤則惛潣談䅳醢甡。羾≧鬰-蟬則·鬰
爔呂慇慽艊鲡鄐賽陸〔澰躐嗙〕䯥2004妘鮪醎雩鄐䌄貊跤宆䒫漛醮杚惛㒂侸·侸暺彯諦慘
甡熱鑫則爔·檚㜀鮩〔彯䇖〕、
姾惛孭諦慘㫓艊慇慽桹䯤昤鮩欽·壉䞝喺啯。杚惛㒂侸·侸暺彯。蟨楁·忂醎昤穞佖。閾
竑袣竑·烲㪧。䇖蟨俓.陸䈈貿絆樴。呏孭䞝·濕䎑。啢燯嬕啯。㒂鯆喺·椂嶗俋氈·爠桞、陸
㳚昤怐媈·鈵黥。旝欨竑·壉鬰孭。儨濕·忂陸。絔榺孭·綠昤。閾㳚·姈杚俓。烲昤·鄟峐髤啯
昤。㫶竑·侸峐訵醮骼諦慘㫓艊啂甡㰊漝㡕姾惛孭艊鞡詬叅鮪巃。硰嵔嶗甡緋䙜撾、
羠鲋䖂樴孭ー艊姾惛孭鮪孭踙昤䎑叧雳佪貊䯖妛鮪㮰㳚贋鎢鬰陸欨墕蹺咲潣談䅳
艊潣談墡慘咇、靕1984妘靧2007妘䯖骼曧榙楁輟潣談䅳艊彾蘚、1998妘䯖姾惛孭⺖
戦鲂＃榙楁咇廟潣緋咲￥蠙誑、
15
ANDREAS CONRAD TENOR
2015/16 Andreas Conrad performs Mime in Das Rheingold and in Siegfried conducted by Kirill
Petrenko at Bayreuth Festival, Mime in Das Rheingold at the New National Theatre in Toyko,
Bob Boles in Peter Grimes at the Theater an der Wien conducted by Cornelius Meister, Klaus
Narr in Schoenberg's Gurre-Lieder and Edmund in Aribert Reimann's Lear in Paris.
n summer 2016 he will sing Mime in both Das Rheingold and Siegfried conducted by Marek
Janowski at Bayreuth Festival,
2017 Andreas Conrad will perform Die Zauberflöte and Janacek's From the House of the Dead
in Paris and return to Tokyo for Mime in Siegfried.
Acknowledged as a talented spiel tenor he performed his first Hauptmann in Berg's Wozzeck
in 2004/5 at Komische Oper Berlin, later he has sung the part also at Wiener Festwochen
conducted by Daniel Harding and at Paris' Opéra-Bastille.
His debut as Aron in Willy Decker's famous production of Schoenberg's Moses and Aron 2009 at
the RuhrTirennale proved his successful transition into a matured character tenor.
In the same year he debuted in the role of Mime in Siegfried at Washington Opera.
2011 he sang for the first time Herodes in Strauss' Salome at the Opéra de Monte Carlo
conducted by Asher Fisch. This role he has sung in the meantime at several theatres, 2014 at
Bayerische Staatsoper in Munich.
At the Berlin Philharmonie he sang in 2012 his first Mime in Das Rheingold conducted by
Marek Janowski – the concert has been recorded for cd.
2014 he debuted as Loge in Das Rheingold conducted by Gianluigi Gelmetti at Opéra de
Monte Carlo, in Geneva he sung his first entire Ring production as Mime conducted by Ingo
Metzmacher. 2015 he performed Mime in both Das Rheingold and Siegfried in Munich and at
Bayreuth Festival conducted by Kirill Petrenko.
Other highlights of his career include 2014 Eisenstein in Die Fledermaus at Semperoper
Dresden and Paisi in Tchaikovsky's Charodeika at Theater an der Wien, 2012 a tour with Moses
und Aron conducted by Sylvain Cambreling with the Orchestra of the SWR, of which resulted
an award winning recording, 2011 his participation in Die Frau ohne Schatten at Salzburg
16
頯梮咲鞯鄻䯙THE ARTISTS
Festival conducted by Christian Thielemann (with DVD), Janacek's From the House of the
Dead 2007 conducted by Pierre Boulez in Vienna and Aix-en-Provence (with DVD) and later
conducted by Esa-Pekka Salonen at the Metropolitan Opera in New York and at Milan's Teatro
alla Scala or 2004 his first collaboration with Placido Domingo in Carlo Menotti's Goya at
Wiener Klangbogen.
Andreas Conrad is working with conductors like Stefan Blunier, Placido Domingo, Sir Collin
Davis, Hartmut Haenchen, Yakov Kreizberg, Andrew Litton, Seji Ozawa, Simone Young and
David Zinman. Stage directors like Christof Loy, Vincent Boussard, Willy Decker, Richard Jones,
Harry Kupfer, Hans Neuenfels or Dieter Dorn appreciate his stage presence, enthusiasm and
vocal charisma.
Born in Magdeburg Andreas Conrad studied voice in Dresden where he also attended the opera
studio at Sächsische Staatsoper. 1984 to 2007 he was a member of the ensemble of Komische
Oper Berlin.
In 1998, Andreas Conrad was awarded with the title Berliner Kammersänger.
沈洋 男中音
魳謖濱翇跤䌄潣緋咲䯖熱羠鲋跤蹺俍爠、魯謚瀸趵鲋醢犦䌄貊叧䅳。銊蹺馞験鲡
䌄貊叧䅳嶗銊蹺俋㰊∥潣談䅳楁孭桞䉣妘頯梮咲㚳鄨紬、踵鄟郿俋㰊∥潣談䅳嶗銊蹺
IMG蹺䅕頯梮咲諎絔駡誒誐郿潣緋咲䯥⺖竑鏂踵銊蹺郿錪·䈞杚㳟昤俋叧芕贜㫶䌄貊叧
䅳。俍爠䌄貊叧䅳。煄䅃䌄貊叧䅳。椈墕壎餱俋叧咃姫斊戦䯖粷麇斊鲋醢犦䌄貊叧䅳佪
貊潣談跀、
2007妘6桸䯖煄爁慘踵桭妘㪇艊贋㡡鍎䯖鮪瑪絑桭䗮鄀時佪貊瀷㡡躐酽艊餚蹺BBC則
㫶俓跫翨潣緋咲俋㡡跤驔嬱嵶酽㳟値䯖魳謖偔䗮䌄潣緋咲綠·鬰緥賣偔穞踵骼䎓僨鑫㝧嬕
瀷㡡〓钂鍎艊儨啯佖艎咲烐杫値椊、
2008妘䯖煄爁鮪餚蹺愛斣驔嬱Borletti-Buitoni Trust頯梮咲俋値䯖㛫値䎋暅鮪値轄
桹彾喥嶗頌㬠艊䉣妘頯梮咲、妛夎錫骼髦㫧
瑪絑誼艊鲇趵僨嗴、2010妘6桸䯖煄爁鮪
17
調鈵昤鮒嬐嬱ー驔嬱＃醐呹䫀䖂楁昤▕談䅳艀
侺䌄貊頺昦佪䌄俋値￥䯖妛羾調鈵昤魳謖慇慽
咲罁燒㳚·懴諮鎑俓鳅靕䎓値、2012妘煄爁驔嬱
訅馬嗘醢犦壈＃旝誼昦鳏￥蠙誑、煄爁㫤桪魯
謚驔嬱鎽諦蹺斊蟨旝鄩鄬蹁窩艊嶯俋濕醎鈵鄐
＃騖斛罁喺￥蹺䅕潣談瀷㡡。孭蹺榙楁驌罌昤
ー潣談瀷㡡嶗嶯俋濕醎鈵鄐＃倿髤漥￥潣談瀷
㡡㓕頥訅酽謖、
嶯俋濕
俋艊翇䗮䌄潣緋咲則爔·㠣啯㠧倇
蠙骼踵謾53妘甡緋羠猌飨棾堝㫓桭偡艊翇濱
䌄躐酽䯖曧酽跣蜶覎䯖㫤⺖魳謖慇慽咲呏趼
喺倿·壦壦㜀㛊麽踵＃醐㳚慙酽艊佪䌄￥、讜暚
骼雩糴勢銊蹺魳謖偔䗮䌄潣緋咲颪廟·媈驌暺艊峾宆慇啂嶗硰宆夎錫、
2009妘4桸骼慘踵鮪銊蹺俋㰊∥潣談䅳䒫甡艊桭妘㪇艊雲鳏潣緋咲䯖贋鎢鑫鄟郿俋
㰊∥潣談䅳艊䒫甡䯖甡熱騿忶竑潣談〔騖繊〕跤䖂㡡怐酽㓕、2010妘2桸煄爁畝漛舽醢
俋㰊∥潣談䅳鞡詬醮調鈵昤魳謖偔䗮䌄呏兙·倈竑䈈壉蟨訵鳏諦慘熱甡杚倝喺潣談〔燆㒂
貏鲡鳏〕跤屨叧咲蟨楁酽㓕、2011妘11桸鮪鄟郿俋㰊∥潣談䅳贋鎢醮魳謖偔䗮䌄潣緋咲
颪廟·媈驌暺諦慘甡熱鲳孭啯潣談〔鈵孭綕㫊〕䯒墱羾DECCA駡誒嫚壽僨
嶗昦鞡詬壽慘穼梪艊〔騖繊〕艊甡熱、2013
鰤賂嶗DVD䯓
14貊叝䯖骼啔畝漛㫠螻俋㰊∥潣談䅳甡熱
〔䙬觪〕嶗〔瞗僝児〕、
2012妘侢俍䯖鮪餚蹺樴驌舽絆峐潣談頺艊䒫甡䯖甡熱鈵㒂喺潣談〔瞗僝児〕䯖讜梕
㫤鮪鑫孭蹺墴鼹濕鲡蹺咲潣談䅳䒫甡鈵㒂喺潣談〔瞗僝児〕䒅甡䅏濕侸鈵、2013妘侢
叝䯖骼呝彾鑫鮪蹺咲俋談䅳艊潣談䒫甡䯖鮪〔㠿鎢鈵凗蛷〕跤䒅甡㠿鎢鈵酽㓕、
慘踵䌄貊∥潣緋咲䯖骼鮪䌄貊∥嶗箏緋∥鞡詬桹菑椥踵踔哱艊甡熱嘒證嶗頯梮證
蠿、鮪䌄貊∥桏茩醢䯖骼艊桏茩醢艊墤俋㣮姪䯖鹾甡熱㭚倀跫翨諤鰱、骼侸漛飨箏緋咲
艊㦳麋嶗鄟郿穚貊。㠿╙鲮閼貊筧。暃㳟嘪鲮閼貊筧嶗䖂綕昤▕談䅳貊筧訵甡熱藥愥鞲
墴爔陸玜緋談勢鲈鴛跫鄅嫕魍䌄貊慘閔、讜樭䯖骼讜樭曧跤蹺艊䎈啱鲮閼貊筧鳅哣諦慘
．飽䯖䅵鑫甡熱鄽鉚艊䌄貊慘閔䯖鮪嫕魍䌄貊∥昷䉳骼讜樭跫翨䒫甡鑫藥愥誥啢鄏斊戦
抲篻酓煄爁艊〔崺㪧躐潣〕䯒棜儐讜㛓䯓訵謾呅㳛㒄慘閔、
2009妘曗䯖煄爁鮪銊蹺鄟郿穚蹉趺·⿺濕。餚蹺則㫶俓䈞㫶㜀竑飨倀䒮珜頯梮頺嶗醢
犦䒫嗘侢叝䌄貊頺蹁窩酽跀燒頯梮潣桏箏緋∥飨鄅寳
18
俋艊孭蹺濱翇跤䌄潣緋烲昤·䈞竑
頯梮咲鞯鄻䯙THE ARTISTS
㛤㪼酽艁囈妘、煄爁慘踵2011-2012妘甡熱叝醢犦鲮閼貊筧䖑筧頯梮咲贋鎢鑫㛫筧跀燒䌄
貊∥、 鮪訅鴛蠐。鴛鲕嗘譯鲷蹺䅕䌄貊頺梕䄄䯖蹁窩鑫孭倿頯梮潣桏箏緋䌄貊∥飨倀潣
談〔囑㳜〕艊甡熱䯥㫤鮪醢犦俋談䅳醮椂襫䉣斊戦蹁窩鄅寳㪧鲰䉺噯100囈妘跤蹺㫝粷
魍慘桏咲慘閔箏緋䌄貊∥、
2013妘蟟䯖骼畝漛會熱鮪頯梮醢艊瑪昦啿㛛嶗垁昦攝嶯、骼嶗銊蹺
倇穞佖㾱綖
咲焿孭·䖂昤䎑魯羠鮪譯鲷跤嘪駡艤䌄貊⊕嶗澓烲綖詬䌄貊鄭甡熱鑫瑪㯵銊蹺慘閔艊䌄
貊∥䯖䌄貊䏣樴㣮姪椥俋䯖鞲䧸鳏瞝潣。銊蹺炓潣。頯梮潣桏嶗䌄貊談慘閔茻勢穞佖
嶗鰤㜉䌄貊、
鮪醢䌄梪蟨叧雳梕䄄䯖骼喥嫚壽熱穼僨
鑫跫翨醢䒫媑雲鳏穼鞐絆竑佪貊倧桏
〔鷗躐晈〕䯖⺖㛊踵嫕妘瑪蹺鴛俋僨硢緋穻䯖㫥雩曧鮪骼20噉暚嫚壽艊豕㪝〔㳛濱䌄〕
謚艊訅鲈媑緋穻、2012妘䯖骼嫚壽鑫〔
俋艊佪䌄甡緋郿錪·踹慚〕䯖㫥曧酽媑謭郿錪·
踹慚靪斲艊緋穻䯖㳚䉳㫤藥愥鑫侸暺彯。怐䖂昤·烲杚欨。硰廟·壦蟬訵鳏艊甡緋、2013
妘颣賣Ondine駡誒雩熱穼鑫煄爁嶗慇慽咲媈惛㫶貏啯·䅏鳘鑃鄐䩷嫚壽艊鐞昤⿺蟨醎倇
〔惛㪧躐澰〕、
SHENYANG BARITONE
30-year-old bass-baritone Shenyang is recognized as the 2007 BBC Cardiff Singer of the World
as well as 2010 winner of the Montblanc New Voices at Stars of the White Nights Festival and as
2008 winner of the Borletti-Buitoni Trust Award.
The 2014-15 season includes house debuts both with Opernhaus Zürich and the Washington
National Opera as Alidoro in La Cenerentola. He returns to the San Francisco Symphony for
performances of Beethoven's Missa Solemnis conducted by Music Director Michael Tilson
Thomas, to the International Bachakademie Stuutgart for Handel's Messiah, to Beijing's
National Center for the Performing Arts and the Orquesta Nacional de España for Beethoven's
Ninth Symphony, and to the Beijing Music Festival for a nationally televised gala concert
celebrating the music of Chinese composer Huang Zi.
This past season Shenyang returned to the Metropolitan Opera for Julie Taymor's beloved
production of The Magic Flute, conducted by Jane Glover, and for La cenerentola under the
baton of the Met's Principal Conductor Fabio Luisi. At the Met, Shenyang previously has been
19
heard as Masetto in a new production of Don Giovanni, directed by Michael Grandage and
conducted by Sir Andrew Davis, as Garibaldo in Rodelinda directed by Stephen Wadsworth
and conducted by Harry Bicket, and as Colline in La bohème in the beloved Franco Zefferili
production conducted by Marco Armiliato.
On the concert stage the artist recently joined Yannick Nézet-Séguin and the Philadelphia
Orchestra, Alan Gilbert and the New York Philharmonic, and Gianluigi Gelmetti and the
Monte-Carlo Philharmonic for Beethoven's Ninth Symphony and, in a return engagement,
he joined Michael Tilson Thomas and the San Francisco Symphony for Beethoven's Mass in
C. He performed Janacek's Glagolitic Mass with Grant Park Music Festival and the Requiems
of both Mozart and Verdi with the Oregon Bach Festival under the batons of Matthew Halls
and Helmuth Rilling, respectively. Shenyang sang Verdi's Requiem with the Huangzhou
Philharmonic and, in his conducting debut, lead the Shanghai Philharmonic Orchestra in an
orchestral program of Dvorak and Smetana.
Highlights of past seasons include a role debut as Figaro in Mozart's Le nozze di Figaro in a new
production at the National Centre for the Performing Arts in Beijing, a return to the Beijing
Music Festival for Jing Xiang's opera, Yuan Ye, conducted by Long Yu, and the world premiere of
the orchestral song cycle, Song of Farewell, written for him by composer Xiaogang Ye receiving
performances in Beijing and at the Berliner Philharmonie with the China National Symphony
Orchestra. North American performances include Beethoven's Ninth Symphony with Matthew
Halls and the Toronto Symphony Orchestra as well as Beethoven's Missa Solemnis with Michael
Tilson Thomas leading the San Francisco Symphony Orchestra and Chorus.
Shenyang embodies a 21st century bridge between the cultures of East and West. His celebration
of the human voice was spotlighted as Artist in Residence of the Shanghai Symphony Orchestra
in 2011-12 in numerous programs conducted by Long Yu with repertoire ranging from Bach and
Mozart to Rachmaninov and Mahler. He joined Daniel Harding and the China Philharmonic
for selections from Mahler's Des knaben Wunderhorn at the opening weekend of the Beijing
Music Festival and was presented in solo recital at the Festival in a program of Schubert, Loewe,
and Mahler.
Shenyang has appeared with Helmuth Rilling and the International Bachakademie Stuttgart
on a European tour of Bach's Mass in b minor. In the summer of 2012, Shenyang made his
Glyndebourne Festival debut in a revival of the Sir Peter Hall production of La cenerentola and
bowed for the first time, also as Alidoro, at the Bayerische Staatsoper.
20
頯梮咲鞯鄻䯙THE ARTISTS
Shenyang sang Rossini's Stabat Mater with Sir Antonio Pappano and the Accademia Nazionale
di Santa Cecilia Orchestra and was a featured soloist at the opening concert of the China
National Grand Theatre in Beijing. He performed Haydn's Die Jahreszeiten with John Nelson
at the National Centre for the Performing Arts in Beijing, solo Lieder recitals at BBC Hoddinott
Hall in Cardiff, the Hong Kong Arts Festival, the Shanghai Grand Theatre, and in New York
at Lincoln Center under the auspices of The Juilliard School, a Young Singers Concert with
Ivor Bolton at the Salzburg Festival, and Brahms' Liebeslieder Walzer with James Levine and
Daniel Barenboim at Carnegie Hall. He made his New York Philharmonic debut with Messiah
performances under the baton of Helmuth Rilling, sang the title role of Mendelssohn's Elijah
in his Boston Symphony Orchestra debut with Rafael Frühbeck de Burgos (in Boston and at
Carnegie Hall), and performed an aria concert conducted by Valery Gergiev at the White Nights
Festival. He was a guest soloist on an international tour with Edo de Waart and the Hong Kong
Philharmonic with performances of Beethoven's Ninth Symphony and of excerpts from Mahler's
Des knaben Wunderhorn and he joined Helmuth Rilling and the Dallas Symphony Orchestra
for Handel's Messiah. The artist appeared with the San Francisco Symphony Orchestra under
the direction of Ragnar Bohlin for Bach's Mass in b minor, the Cincinatti Symphony Orchestra
and James Conlon for Mendelssohn's Elias, and at Carnegie Hall in a concert performance of
Mozart's Zaïde with Ensemble ACJW conducted by David Robertson.
Born in Tianjin, China, Shenyang studied with Professor Ping Gu at the Shanghai Conservatory
of Music. He is an alumnus of the Metropolitan Opera Lindemann Young Artist Development
Program and of The Julliard School Opera Center. He has received master classes with James Levine,
José Van Dam, John Fisher, Carlo Bergonzi, Renata Scotto, Sir Thomas Allen, Håkan Hagegård,
Christa Ludwig, Barbara Bonney, Malcolm Martineau, Stephen Wadsworth, and Renée Fleming.
Reflecting his emerging stature as a prominent musical and cultural figure in Asia and
elsewhere, Shenyang is a Brand Ambassador for Montblanc in an exclusive relationship with
the luxury product company.
21
罗尔夫·贝克 合唱指挥
1966妘疛孭燒馂▕艊〔㣵鎢糴䇏桏〕鮪暺
昤竑俋斊⊕艊跫翨䒫甡䯖唻嫕暚㫤曧酽謖妘㪇
叧羠艊鈵啯俓·㠣陸鲲羠鑫噴呯屟艊嬁閼、鮪㫥
漛赗嫷
甡艊嬁閼醣䯖㫥瀕嬣壎昦鳏噴宆酭醁
㬉烢骼唻詁鉚䌄貊艊硰穚、鮪䎌濕呝彾熴嬣豕
趵艊叧雳謚䯖鈵啯俓·㠣陸噴呯贋鎢㡱啯袣竑·㳚
䈧艊慇慽㜄蠿、
1972妘䯖鈵啯俓·㠣陸攝襫鑫䖂啯ー諦緋
筧、謚鍎㫑㬫彾踵鑫孭蹺䎈啱艊諦緋筧躐酽䯖
妛鮪骼艊慇慽醣䯖㡨嬱鑫㚾侸蹺廟嶗蹺䅕俋
値、鈵啯俓·㠣陸㫤攝襫鑫紬㠣樴鲮閼貊筧諦緋
筧䯖謚鍎雩讜樭㫑㬫驔嬱鑫嬟偡艊蹺䅕㡤㖌䯖㚾侸孭蹺蹺廟嶗蹺侳艊墘甡。飨倀醮魳謖
慇慽咲諦慘艊緋穻嫚䌄㛇暺鑫鈵啯俓·㠣陸艊彾嗚、
慘踵蓴駻墕䌄貊頺艊頯梮岄苳䯖鈵啯俓·㠣陸愛酭恔鑫酽偧愛鄐孭·絆峐昤鬢攝襫貊䄯
叧䅳艊
酛䯖鲋2002妘踵蓴駻墕䌄貊頺諦緋叧∥倷呯鑫▕蓴、鞲㮰暚㡽䯖醮㮰鲢桹俍㡑
艊妘㪇䌄貊咲酽㡽墡慘彾鑫鈵啯俓·㠣陸頯梮牆誤跤桭踵䒫㒄艊、
鮪麇蓴駻墕䌄貊頺諦緋叧∥頯梮慇啂艊12跣彾嗚艊䌄貊叝㳚䯖鈵啯俓·㠣陸嬁閼菑諦
緋叧∥艊僨嗴䯖妛鞲跫翨諤鰱詿䇗鑫俋㳝哱桹俍㡑艊妘㪇潣忲勢蓴駻墕、羾骼慇慽艊讞
㠣陸䌄貊頺諦緋筧雩鮪孭蹺蹺廟嶗蹺侳桭㳛㒄艊酽鲢䌄貊鯫鰱墘甡、
2013-14䌄貊叝黥僔䯖鈵啯俓·㠣陸抲熱＃鮪諦緋叧∥艊嫮媀醣㫧酽澒亱鎢哱桹俍㡑
艊妘㪇潣忲䯖諦緋叧∥箏襫㫜慘妛懲羮昦艊謖蠙￥、唻骼鍖㔃䯖醭敡婮孭蹺譯㯵祾峾艊
粶乵䯖竑時曧讞㠣陸嶗竑惛媈暺孭䯖飨倀醮嫕鰱諦慘．飽嶗㡤錫縟婠襫艊饅跀䯖曧㳛㒄
艊、骼茩艊曧懲諦緋筧䖆謖跫翨䯖鎢媰蹺䅕佪梐、讞㠣陸蹺䅕諦緋叧∥㬦㫓謾箏竑艊頯
梮慘閔䯖粷鮪墱鄽彾踵酽跣桹菑酽恊哱桹俍㡑艊妘㪇潣忲艊諦緋筧、㬦㫓攝昦艊嶗醭夠
㓄艊䌄貊∥桏茩䯖謾跤雩藥愥踽㒄艊詁鉚諦緋慘閔䯖諦緋筧噴宆飨桭䗮艊頯梮烐豈踔哱
讞㠣陸蹰靧瑪跫翨艊䌄貊∥嶗旝誼杛㓅、
鮪鈵啯俓·㠣陸俋㳝艊嫚䌄㳚䯖過嬱竑時燍嶯艊曧鲳孭啯艊〔笻俋·䖂鎢瀷〕䯒羾嶗㜖
跫翨緋穻僨
䯓。鲳孭啯艊〔鲡證嘪俋躐咮〕。鈵㒂喺艊〔啢妵跛媗搮〕。墴㡱艊〔鮒
㛤頺玜緋談〕嶗倿俓艊〔壉賣㛝潣〕䯒羾踆喺緋穻駡誒僨
22
䯓
頯梮咲鞯鄻䯙THE ARTISTS
ROLF BECK CHOIRMASTER
The world premiere of Penderecki's St. Luke Passion in Münster Cathedral in 1966 had a deciding
influence on Rolf Beck who was still a young student at the time. Under the impression of this
magnificent performance the budding lawyer resolved to further pursue his enthusiasm for
classical music. After successfully completing his law studies he decided to take a conducting
course in the class of Helmuth Rilling.
In 1972 Rolf Beck founded the Marburg Vocal Ensemble and this soon became one of the
leading German ensembles, winning many national and international prizes with him
as chorus director. He also founded the Chorus of the Bamberg Symphony Orchestra
and this too soon achieved great international acclaim. Many tours in Germany and
abroad as well as several CD recordings under the baton of renowned conductors testify to
Rolf Beck's successful work.
In his position as artistic director of the Schleswig-Holstein Music Festival (SHMF) Rolf Beck laid
the foundation stone in 2002 for the Choral Academy of the SHMF, following in the tradition of
the orchestra academy founded by Leonard Bernstein. Working with young talented musicians
has been of prime importance for Rolf Beck's artistic activities since then.
For twelve successful seasons he was the artistic director of the Choral Academy of the SHMF,
influencing its development and bringing together in Schleswig-Holstein a considerable
number of young talented singers from all the over the world.
The Lübeck Festival Chorus under its director Rolf Beck went on tours to the most important
music venues in Germany and abroad.
At the beginning of the 2013/14 season Rolf Beck evolved his idea of furthering young talented
singers in the form of a choral academy, operating independently and with a new name. It was
important for him not to give up the familiar surroundings of northern Germany, especially
of Lübeck and Travemünde, and the contacts built up there with the resident partners and
sponsors. He aimed to make the ensemble well known throughout the world and to intensify
its international reputation. The International Choral Academy Lübeck has now become
established through its unique artistic work as a vocal ensemble of young talented singers.
23
With their innovative and unusual concert programmes which also include the major choral
works of the classical repertoire the ensemble has determined and enriched the concert and
cultural landscape on the highest artistic level in Lübeck and from here all over the world.
From the huge number of recordings with Rolf Beck special mention must be made of Handel's
Judas Maccabaeus (issued on the harmonia mundi label), Handel's Alexander's Feast, Rossini's
Petite Messe solennelle, Bach's Christmas Oratorio, as well as Orff's Carmina Burana (issued on
the Sony label).
德国吕贝克国际合唱团
鮪頯梮岄苳倀攝婠鍎鈵啯俓·㠣陸夃䎘醣䯖讞㠣陸蹺䅕諦緋筧彾䂏踵酽跣㓇浧醮彾蘚
僨羠墤黌艊佪貊筧鉢䯖妛鮪讞㠣陸嶗跫翨諤鰱踵㓅
薟粷哱桹昦嶯倀醭讜啀夠艊䌄貊
∥、䆠菑諦緋叧䅳倀謾叧梮墡慘艊撋呎醭昢僨嗴䯖筧鉢嶨僨硰ヺ鲋僨粷。敆慁醮扟鄐棾
靕諤蹺艊䉣妘潣緋咲、諦緋叧䅳鮪讞㠣陸艊䌄貊∥嶗旝誼鞡詬醢蹁㢹㪇㳛䯖妛飨詁鉚諦
緋桏茩艊椌熱㛦㳘鮪蹺䅕墘甡跤愗桹㳛㒄嬁閼、
11妘飨棾䯖讞㠣陸蹺䅕諦緋筧酽茻踵蓴寫飝苩樴-駻啯昤燚罌䌄貊頺䯒SHMF䯓桽
烏、鮪澑梕䄄䯖諦緋叧䅳彾踵瑪跫翨設䉃俧㓕艊鎲趵潣緋咲髦鎲趵䅆櫐醢艊㳛㒄詬䅆、
粷鮪䯖諦緋叧䅳慘踵＃蹺䅕讞㠣陸蹺䅕諦緋筧燍謀鄖∥￥踵鳏忞蓜、攝婠鍎鈵啯俓·㠣陸
鞣磢惔麇頯梮岄苳、酁椨黌誤醭∥唻叧羠鲲羠麇駁嬁閼、鲇呺醢䯖箏襫艊叧䅳踵叧羠髦
攝㬬鑫酽跣垁昦鹾箏襫艊粶乵䯖鍖鹾▕鲋鳏忴姈艊氥寳醢婠襫䯖靪撾鲋㚯叧羠髦㫊勢竊
豸忞桹鰱昷梕嬜醮㒄烢艊〓蟐蠿姪、
讞㠣陸蹺䅕諦緋筧諦緋筧羾錨桹醖㢐甡緋烐妕艊蹺䅕箏緋咲髦忞椨彾䯖飨酘唻艊䇗
鉢諦緋氥寳踵慇啂䯖妛飨
㫊酘長屒嶎踵茩艊、贋醮鍎髦飨㢋㢐蹺翨醮蟢晜墬婬艊酽蟢
酛酽鍖靕羾艊蹺䅕屒醎慘踵㝧嬕䯖妛飨鮪駡邁艊攝㬬㫓蠿倀屨叧跤酽讜妕嶗鰱墡慘踵誤
撾、棾靕鲋20侸跣蹺咲。愗桹醭讜艊呬斊嶗羠牆屨叧艊鳏髦酽讜甡緋䌄貊䯖尒菑唻嬐澑
艊啚㳛醮鉢㠺邁讜羠牆䯖妛鹾鰓鲶唻昷艊瀯酽俍䯒㫥雩曧㣮旝誼鲮牐跤醭詵徏鈇艊酽㯵
24
頯梮咲鞯鄻䯙THE ARTISTS
鰓䯓䯖骼髦甡緋棾靕諤靕蜫蹺艊潣桏䯖䨺轄叧䅳艊謾骼彾蘚鎢駱㫧棾䯖犨燅鮪醭讜艊旝
誼跤、桭設䅜羠艊鲇窹䯖蒃䄄喥黌嬱鴛鰓祾峾、
䌄貊曧啔鳏髦夃勢酽㡽艊剓鞯徏鍎廬踃䯖㫥酽砎瀫娀鉝聧、醭䈑㫓姪抰㫼䯖鮪諦緋
叧䅳㳚鳏髦靕磢鰱喥㡶勢鑫酽㡽、鮪㫥㳚䯖㛳㔃燍呯∥俢㠫䯥磢鍖酽跣桖偡艊。嶗妕跫
翨艊嶎熴詵⺖茻扟巃蓜䯖㫥酽嶎熴鮪酽跣愗桹侸樭旝誼艊蛼嶼跤螻閼妛镾侽鮪跣鉢艊攝
㬬屟墡慘跤嬱勢鉢粷、㫥鲢㰊過嬱㚯鳏髦詛鉢䖢、㫥雩澐曧諦緋叧䅳偧澑箏酽晹鲈妛錨
桹㛺桽撾艊絔羾、
粷鮪諦緋筧嶎㒄啔㫥跣嶎熴夃酓跫翨、呅▕鲋瑪鉢鳏蘚鮪讞㠣陸粷䅆瀇艊墡慘䯖妛
鮪1桸梩艊醑跣醮譯孭䌄貊∥荁饅鎽艊墡慘䅆瀇跤畝漛嬱飨鉢粷、澑頌艊甡熱㮍郿㛇呺
鑫諦緋筧⺖跫翨鞡詬忞扟糴䯖鍖鹾荁嫕糴漜㫚艊彾嗚呺㣻、
25
INTERNATIONAL CHORAL ACADEMY LÜBECK
The International Choral Academy Lübeck under its artistic director and founder Rolf Beck is a
vocal ensemble varying in size and constellation that presents innovative and unusual concert
programmes in Lübeck and throughout the world. The ensemble with its academic work ethos
is constantly evolving and is keen to discover, support and advise young talented singers from
all nations. The ensemble makes an important impact on the concert and cultural scene in
Lübeck and on international tours with its superb interpretation of major choral works from
the classical repertoire.
For eleven years the Lübeck Choral Academy was in the service of the Schleswig Holstein Music
Festival (SHMF). During this period the Choral Academy established itself as an important and
popular rung on the career ladder for budding professional singers from all over the world.
From now on it is to be known autonomously as the "International Choral Academy Lübeck,
registered association." The founder Rolf Beck is still the artistic director. As regards content
the change in structure will not make any difference for the students. In fact it offers more
opportunities to create a new and independent profile and to become established in the sense
of a talent pool, striving to achieve excellence as is expected and demanded almost everywhere.
The choir of the International Choral Academy Lübeck consists of international soloists who
sing powerfully and guided by the unconditional sense of a communal choral sound, and also
with the intention of conveying a wonderful idea. The participants symbolize a unified free
international idea going beyond borders and racial differences, and motivated by working
together peacefully in the sense of a communal creative process and philosophy. This is when
people from about 20 nations of various religions and philosophies make music and also live
together with respect and consideration for each other, shape their everyday life with each
other and – this too is an essential and important part of inter-cultural communication – sing
songs from their own homeland and encourage other members of the Choral Academy to join
in and immerse themselves in the different cultures. What at first appears to be foreign, very
soon becomes familiar.
Here we do not wish to strain unnecessarily the idea so frequently quoted of music being the
medium or element that brings people together. What occurs so naturally in the International
26
頯梮咲鞯鄻䯙THE ARTISTS
Choral Academy needs no further description. Here words can only fail, where the idea of a
better, peaceful world, anchored in the community of diverse cultures is lived out and can be
sensed through creative work of individuals, indeed it even seems to become tangible. This
is something you have to experience. And that is precisely why the work of the International
Choral Academy is unique and so convincing.
We now intend to take this idea out into the world. The basis is our work in Lübeck, manifested
among other things again in three working phases at the end of January with the related
concerts in northern Germany. Previous engagements testify to the fact that the Choral
Academy is perceived on the international scene and is also much in demand.
爱沙尼亚国家男声合唱团
穚煛喺鲡蹺咲翇佪諦緋筧䯒誖蠙RAM䯓羾慇慽咲詁昤⿺俓·頴啯廟鬰陸昤攝婠鲋1944
妘䯖曧穚煛喺鲡䎈啱鄀艊諦緋䌄貊筧鉢、㛫筧桭設甡緋晹飽倗諦緋䯒䅏則㠣惛䯓䯖曧嫕
鞔跫翨醢桭哱茊謖艊鎲趵諦緋筧䯖罌謾唻俋釆壽諦緋慘閔艊㛦㳘鍖魳蠙、
穚煛喺鲡蹺咲翇佪諦緋筧呯梕踵妭摙駡誒嫚䌄䯖桪醮謾諦慘㫓艊緋穻駡誒藥愥孭嶯
宺緋穻駡誒。踆喺緋穻駡誒。颣賣Finlandia緋穻駡誒。䅏啯颩緋穻駡誒。醎糪詁鉚緋穻
駡誒飨倀GB緋穻駡誒、鮪㫓詛鲕妘䄄䯖㛫諦緋筧僨
鑫醑媑緋穻䯖桭昦熱穼艊曧〔俍⊕
躐醢〕䯖羾鈷㳚兙·樴㳚樴㳚鎑儫慘桏䯖驔嬱鑫2014妘桭長詁鉚䌄貊緋穻値、桭㫝䯖㛫諦
緋筧踵跏媑豕㪝嫚䌄䯖鰓時曧酽媑鲳㳚陸·漥孭鎢孭艊慘閔䇗嶗斛醐喺·贜鄐怐醮斛醐喺·
鎢壉㳚≧濕艊慘閔CD、
2004妘䯖穚煛喺鲡蹺咲翇佪諦緋筧嫚壽艊㒂㠣槑昤姾⿺⿺䯒醎糪緋穻僨
䯓驔嬱鑫
樴驌銊桭長諦緋䌄貊値、䅵鑫㛫諦緋筧躐侳䯖㫥媑緋穻㫤䇗諦鑫≧寫㡱綕偔覎諦緋筧嶗
穚煛喺鲡蹺咲鲮閼貊筧䯖羾壦焿·䇖啯醎慇慽、羾荁讜酽恊頯梮咲嫚壽艊穚孭雲·樴㳚樴艊
〔▔啯·㳟竑〕䯖鮪2005妘⺖BBC䌄貊棇宺抲謖踵桭長諎媘貊緋穻、
27
2011靧2012貊叝䯖貏陸·躜燒倿長彾踵鑫穚煛喺鲡蹺咲翇佪諦緋筧艊䒫夌慇慽嶗頯梮
岄苳、鮪㛫貊筧䂏梕惔麇㫓頯梮岄苳艊鳏㬕藥愥䯤棾靕穚煛喺鲡艊倿寫俓·漥䇖。姈㜀·䅏
蹰。呏馂·躜燒倿長。躜㜀·鲡俓惛。閾惛孭·躜燆。呏馂·飝馂䯖飨倀棾靕襫䆇呰艊則昤壦
啯昤·杚喺壔、㛫筧艊甡緋桏茩㒉苼鑫鞲旝頯侟蠻勢21跫鄅䌄貊艊餱縶、䅵鑫穚煛喺鲡慘
桏咲艊慘閔侳䯖㛫筧桭㫝㫤甡緋鑫鞲鐞昤⿺蟨醎倇勢⿺陸⿺鞐醎濕䯖鞲壉驌鲡昤勢贜鄐
怐訵慘桏咲艊䌄貊、
穚煛喺鲡蹺咲翇佪諦緋筧鮪㛫蹺甡熱鑫㢋㫓6300鯫䌄貊∥䯖鮪頌飝鎽嶗㒂漥艊
侸
俋╙壈㰊桹㫓甡熱䯖㢹㬅㭚倀飨頥燒。鎢愽俋嶗銊蹺、
THE ESTONIAN NATIONAL MALE CHOIR
The Estonian National Male Choir (Eesti Rahvusmeeskoor, otherwise known as RAM) was
founded in 1944 by the conductor Gustav Ernesaks, a leader of choral music in Estonia. The
male choir, which originally sang a cappella, is now a world-renowned professional choir noted
for its renditions of large-scale choral works.
The choir regularly records for broadcasting companies, and has collaborated with Deutsche
Grammophon, Sony, Finlandia, Alba Records, Virgin Classics and GB Records. Over the past
5 years, the choir has released 3 albums, the last of which "In paradisum" (with the music of
Galina Grigoryeva) won the honorary prize and title of The Best Classical Music Album 2014.
Currently the choir is recording music for two albums, a full album with the works of Henrik
Ødegaard's and a CD with works by Giovanni Bonato and Giovanni Gabrieli.
In 2004, RAM won the Grammy Award in the category of Choral Music for the recording of
Sibelius' Cantatas (Virgin Classics), an album which featured the Estonian National Male Choir,
the Girls' Choir Ellerhein and the Estonian National Symphony Orchestra, conducted by Paavo
Järvi. The album of Edvard Grieg's "Peer Gynt", recorded by the same musicians, was named the
best album of orchestral music in 2005 by BBC Music Magazine.
As of the 2011/2012 season, Mikk Üleoja has acted as the principal conductor and artistic director
of the choir. Among the long-term artistic directors of the choir, there have been conductors
Olev Oja, Kuno Areng, Ants Üleoja, Uno Järvela, Harald Uibo and Ants Soots from Estonia, as
28
頯梮咲鞯鄻䯙THE ARTISTS
well as Kaspars Putninsh from Latvia. The choir's repertoire ranges from the Renaissance to
the music of the 21st century. Estonian composers aside, the choir has performed works from
Shostakovich to Taktakishvili, and from Bryars to Bonato in recent programmes.
The Estonian National Male Choir has performed more than 6,300 concerts in Estonia, in major
cities of the former Soviet Union and in various countries across Western Europe as well as in
Israel, Canada and the United States.
上海歌剧院合唱团女声合唱团
醢犦潣談䅳諦緋筧曧蹺廟酽牐艊豕趵諦緋筧鉢䯖雩曧證諍崠蹼艊佪貊
甡筧鉢、
侸妘艊頯梮呺㣻䯖懲諦緋筧鮪潣談。玜緋談。鲮閼諦緋。晹飽倗諦緋。㳛緋醮箏緋訵
諤蟢佪貊
甡嫮媀醢䯖蠘踙鑫踔哱艊墮翽談茩嶗桏茩、㫝妘棾諦緋筧醮跫翨魳謖頯梮
咲諦慘鑫〔則䃸〕。〔䅏鮩惛〕。〔蹕賣侸〕。〔燆㒂貏鲡鳏〕。〔馣颭偔〕。〔倿
29
㡡鈵〕訵㒂昷鄽鉚潣談䯖〔㠣侸颣訅謦鲮閼桏〕。〔䖂寫訅馬鲮閼桏〕。〔黥濕鲡〕。〔則
啯貏㮰·壉惛㮰〕。〔媗㡡鲡〕。〔犛佖孭艊煆煴〕訵玜緋談嶗鲮閼諦緋䯖〔䧫熅俋諦緋〕。
〔䂏嬕鄩潣〕䯖潣談〔焎僜〕。〔囑㳜〕訵魳謖跤蹺慘閔䯖妛靪撾鲋戹甡〔䈈䇹〕。
〔蹺躐嫕潣〕。〔秐厸躐潣〕訵跤蹺囑攝潣談倀諦緋慘閔䯖澑侳䯖㫤鄩鄬詇陝鑫〔鼯
啯鎢躐佪〕。〔曗艊䃾鎬〕。〔䇻╪謭嬔〕訵赗閔諦緋豕鯫䌄貊∥、諦緋筧桪魯謚熱
㛅醑鴛侸跣蹺咲嶗鰱嶼䯖
諦趼㒂昷艊䌄貊
酛䯖踵跤蹺旝誼艊
摙嶗跤㒂昷䌄貊艊
鲮牐會熱鑫㠧篻、
SHANGHAI OPERA HOUSE CHORUS FEMALE CHOIR
Founded in 1956, Shanghai Opera House Chorus (SOHC) is the oldest and perhaps the
most famous chorus in P. R .China. In the recent half century, SOHC has accumulated solid
experience in performing of opera, oratorio, symphonic choral works, a cappella, solo and
ensemble. SOHC has co-operated with world famous artists and performed numerous classic
operas, the highlights are: Carmen, Aida, Faust , Turandot , La Boheme , La traviata, Otello,
Romeo et Juliet, Tosca, Madame Butterfly, Cavalleria Rusticana, Pagliacci, Manon Lescaut and
others. At the same time, SOHC has performed a lot of oratorio and symphonic chorus, the
highlights are: Beethoven's Symphony No.9, Mahler's Symphony No.8, Elijah, Carmina Burana,
La damnation de Faust, Messiah, Requiem and Stabat Mater Dolorosa, etc. SOHC has also
performed numbers of Chinese original operas and symphony choral works, such as opera:
Zhou Xiaoyan, Thunderstorm, The Wager, Poet Libai, Savage Land, King of Chu, original
musical National Theme, choral symphonic works: Yellow River Cantata, Song Series of Long
March, etc. In addition, the SOHC frequently invites famous chorus conductors all over the
world to present chorus concerts every year.
With the combination of western and eastern music essential, SOHC is becoming more
renowned in the world. SOHC has visited more than 30 countries and regions, and was
invited to attend Macao International Music Festival (1994-1997, 2000, 2002 -2008), Brisbane
International Music Festival (1998), Saarbruecken Opera Festival (1999), Hong Kong Arts
Festival (2005), Singapore Asian Arts Festival (2006, 2007), Savonlinna Opera Festival (2008), etc.
In 2008, SOHC visited Europe and performed Mozart's Requiem in the Vatican's paul VI
audience hall, Scuola Grande di San Marco of Venice and Vienna Musikverein. In the same year,
30
SOHC performed Otello, Yellow River Cantata at Olavinlinna Castle of Savonlinna in Finland.
In 2009, SOHC visited South Korea and India, bringing the show The Harmonic Music of the
Miraculous Land to the audience there. In 2010, SOHC visited Hong Kong and performed Fidelio
by Beethoven and Carmina Burana, which were highly praised by Mr. Edo de Waart, the Artistic
Director and Chief Conductor of the Hong Kong Philharmonic Orchestra. During 2011 New
Year's Concert, together with World well-known Conductor, Mr. Kurt Masur, SOHC performed
Beethoven's Symphony No.9 at the Shanghai Grand Theater, and were highly appraised by
the audience.
31
一首跨越三个世纪的交响诗
上海交响乐团
飽
證諍
䆠菑㒂昷頯梮
駱跤蹺鍖㛤羠艊醢犦鲮閼貊筧䯖鮪㣮㢐鑫3跣跫鄅艊證諍噉桸躐
謚䯖澐飨謾昦跫尓艊䉳㞒薟粷鲋跫、
恔
醢犦婩╫鲋1843妘䯖鞲澑䯖侳棾旝誼㬦㫓㫥姫縟╫䯖㫧駱跤蹺䯖醮梪鮃旝誼僨羠蘕
搾。酁諦䯖鲲羠熱跤蹺旝誼頯梮諍醢艊㚾㚾侸侸訅酽、澐曧鮪㫥樭艊證諍乵㭔跤䯖醢犦
鲮閼貊筧艊頌㦳ⅩⅩ醢犦駡邁貊䄯鲋1879妘㛤羠䯖鞲澑婩蕓鑫㫝魍跤蹺鳏扟糴㒂昷䌄貊
艊昦鄅廬、㫧駱20跫鄅䯖貊筧㫚棾鑫檚艁鏍暚魍䯖飨50蠶鳏艊㓇浧婠壽䯖⺖㖌踵㫨趼訅
酽䯖潔嗋鲡爳㬉䆠㒂昷旝誼澒鼹㫧駱粷魍蛼∥躐頌熕、䆠菑跤蹺貊壎艊鎢茒醮跤蹺慘閔
艊醢甡䯖醭鳢懲㫥敆㒂爁貊䄯婩僔桹鑫跤蹺鳏艊㦳嬁䯖桖踵媆鳏燍茩艊曧䯖跤蹺嵔㢩婩
僔㬦㫓㒂昷貊鏍僨熱鑫靕墰艊佪䌄、1942妘䯖哱雲扟桬檚艁鏍惔麇慇慽䯖侐鲋徔瞐誤龉
跤艊醢犦䯖妛煫桹罌澑鍖酘閼䌄貊旝誼艊
㬞、
1949妘䯖䧫㡁㾶慘踵昦跤蹺訅酽瀕慇慽咲䒫漛舽詬慇慽鲮閼貊筧甡倗䯖羾澑貊筧證
諍㫧駱鑫跤蹺鳏踽啂艊昦暚魍、1956妘澐媀呯謖踵醢犦鲮閼貊筧䯖鮪證麇筧䂏嶗慇慽艊
夃䎘醣䯖貊筧醭昢怳俋靕墰艊甡倗桏茩嶗亱鎢跤蹺慘閔艊醢甡瀷㳛䯖醭昢惼嗴唻侳鲮牐
艊餱縶䯖醭昢▔鑇跤蹺甡蘚艊鞡詬鄽䖢䯖酽俋恊跤侳慘桏咲嶗
甡頯梮咲㰊鮪醢犦鲮閼
貊筧艊證諍醢翽醣鑫箏竑艊佪䌄、1984妘䯖䅘秷䅃扟桬䧫㡁㾶惔麇筧䂏䯖酭鍖剴⺖麇
噯踵醢犦鲮閼貊筧䌄貊岄苳䯖彾踵跤蹺旝誼頯梮僨嗴諍醢訅酽瀕旝頯䅳筧岄苳䯥㫥20蠶
妘䯖㫧酽澒墥躉鑫貊筧蹺廟酽牐艊鰱瀕䯖讜暚剴懲謾鮪鲡爳佪㖌飨倀跫翨嬁閼昷䉳桹鑫
䂏㢹艊㫧澒、
32
醢犦鲮閼貊筧鞯鄻䯙SHANGHAI SYMPHONY ORCHESTRA
婩惼㫧僉
2008妘䯖醢犦鲮閼貊筧絔鲇∥彾襫妛駡鶯愇鏂昦麇䌄貊岄苳䯥2009妘䯖蠶䆗彾踵醢
犦鲮閼貊筧䒫瀕瑪絑駡婩愇鏂艊䌄貊岄苳䯖蠶䆗曧醮跫翨鄀䎈啱鲮閼貊筧諦慘桭侸艊雲
鳏慇慽咲、㫥曧貊筧證諍醢媆鳏葿茩艊昦暚魍婩覜䯖酽跣羾▕㳟∥絔鲇∥諎絔艊貊筧昦
鉢壽羾澑㛤羠、
貊筧飨鎲趵誼踵樮宆䯖飨蹺廟䎈啱。鲡爳酽牐。鮪跫翨醢錨桹㳛㒄嬁閼撾踵茩槪䯖
鞲侸昷䉳菑忲獿駱扢㫧敘䉺、攝昦羮鳏梽壽䯖鮪瑪絑餱縶愇鏂甡倗蘚䯖妛㬦㫓䖑筧頯梮
咲嶗咃夌䒫夌艊嫮媀啔
侸跫翨鄀〓蟐甡倗咲僑鏅鮪醢鲮䯖鈫鈵趵廟赗餚、俙呺䌄貊叝
▕蕬䯖㬦㫓酽恊跫翨鄀俋壎鎢茒䯖踵怇㬬赗閔鲮閼貊抲辭㳛㒄墮㛇、㫝妘棾䯖貊筧醮慇
慽咲䖂鞐啯。袣鮩。䖂㳚鄐穞佖。㫶蹕罁。頴翂墴㡱。蜫哅·檚⿺。頴愛·諮啯絆竑。喺
働·䇖啯醎。㯞暺銷。杚燒竑犾俓。䅏鳘鑃鄐倇。杚惛椡。疛孭燒馂▕。壦焿·䇖啯醎。
則昤杚倝陸。倿昤騿·醐昤則。熴瀷倿·㣵曀㒂訵䯥啢抲綖咲蜫陸桞。燒哅。敽馂。旝樴
爔俓。呧侸㳚。騚惛·媑。楁曤鲻。讞屒玜䯥俋抲綖咲䖂傖傖。粀擊。䧍昤▕。閾䈈啯。
蠉襫塻䯥㾱綖咲間鏥。瀊恔呬。樴惛俓桞。壉㡱哅孭。墴鳘▕爔儫。陸㳚昤鮩呏·䩷䧿啯
桞。㯛梋。粀鋗長。棜鲑㫶䯥＃㳟頥觪忲￥㕼働昤·䗮儨。雜讛諎甡倗咲鬰哅·檚鎑。怇韌
貊昦蟐䖂酾·樴䞝哅樴訵侸瀕鮪犦侳鲶桹佪㖌艊䌄貊咲鎽ㆠ蹁窩䌄貊∥、鮪
酛鲮閼貊鞡
詬躐侳䯖貊筧㫤狇㢹䌄貊∥穼潣談。玜緋談訵俋矇佪貊慘閔甡熱䯖鮪捨捨㫓詛艊2014-15
貊叝跤䯖貊筧掓蹺廟侳〓蟐潣緋咲嶗諦緋筧鉢魯謚醢甡鑫〔黥驌陸竑惛〕。〔壉賣㛝
潣〕嶗〔飨濕鲡〕䯖踵鄌鏍貊甡熱叝亱玏鑫酽惃時樭䏣㳕、
醮澑讜暚䯖貊筧雩䉯夠燍㳛甡熱嶗扢妭跤蹺嫕魍慘桏咲艊慘閔䯖妛醮桏慘鍎墮慁頠
偡艊諦慘饅跀、瀷偧驔嬱＃跤蹺䌄貊㳟㾮値￥鄮羠駥㖌銷覈艊醢犦鲮閼貊筧䖑筧慘桏咲
梲㣻鎍魯羠䯖曧跤蹺䌄貊翨訅酽瀕䯖雩曧茩頌綾酽艊熱穼鲮閼貊。諎媘貊瑪䇗艊慘桏
咲䯥醢犦鲮閼貊筧硰嵔戹甡骼艊鴛侸㯵鲮閼貊慘閔䯖嫚壽鑫骼艊瑪㯵鲮閼桏。諎媘貊桏
緋穻䯖2002妘5桸䯖贋醮詇陝熱穼鑫跤蹺䒫㯵跣鳏鲮閼慘閔䇗〔梲㣻鎍鲮閼桏䇗〕、醢
犦鲮閼貊筧讜暚雩曧跤蹺慘桏咲蠘椥謭跫翨嗴粷謾慘閔艊褢訥䯖謾跤藥愥牆㣉鮪犦廟侳
艊跤蹺慘桏咲㜳荋。䅘謾㾱。茊呬鲻。囈䫀。䅘屗。䧫呏愛。㚾鞐鲡。㯺旝杛。蒢啢
椡。誥啢㾱。騖婠妕訵、貊筧醮㜳荋諦慘艊翄嬁䌄貊〔閘鹲鶜䫀〕。〔侺咮〕。侸剓鉢
鲮閼貊〔鰱蹕〕。孎翄嬁鲮閼㛝〔偔霎〕訵䯖鰍驔嬱鑫跫翨屟艊彾嗚、
33
2015-16䌄貊叝䯖雲鳏慘桏咲䅘謾㾱誐郿醢犦鲮閼貊筧䯖彾踵㫥酽叝艊䖑筧頯梮咲䯖
䅵鑫醢甡骼酓醢犦鲮閼貊筧䌄貊䌄貊鄭婩奟鍖慘艊〔鲷談蒃䄄〕侳䯖㫤啔醢甡鲈钘鄖倗
桏〔㬩詛艊暚賂〕䯖鲷钘。鲷鲈钘醮貊䄯〔侺獿煆〕䯖倀〔
岤颭〕。〔鲕
〕。〔鲈
䧫〕。〔㡶㒂訥〕。〔龉媯〕。〔瑧〕謦㯵撾慘䯖㠵褀瑪叝、
䀟嶯攝昦
貊筧唻槪蹺䅕槪豈䯖醮夠㓇鞡詬妛
䯖婩惼鑫醢犦昦妘䌄貊∥醮醢犦侢叝䌄貊頺跏
俋閔窅、
靕2009妘12桸31暀僔䯖醢犦鲮閼貊筧鰓時㮍㛽鑫慇慽俋壎㳚則啯侸·袣鮩。姈啯竑·
䖂鞐啯。貏閾黥啯·杚燒竑犾俓。頴愛·諮啯絆竑。陸㳚昤怐媈·頴翂墴㡱。壦焿·䇖啯醎䯖
鰓時怱欀2010靧2015㫥嗎妘艊昦妘䌄貊∥、䌄貊∥㬦㫓跤俖翄㓉詬。趼昷氈㓉嶗輕齲
氈㓉瑪蠿謭瑪絑㩸摙䯖㚯瑪絑㓅
㰊漝㡕勢俋壎艊䏣㳕䯖讜暚雩嗴蛵鑫醢犦╙壈艊旝誼
嫮㝧、
酭醢犦昦妘䌄貊∥躐謚䯖侢叝䌄貊頺㫥酽䌄貊嫮媀彾踵鑫醢鲮醣酽澒扜踆艊㳛
砎、2010妘䯖醢犦鲮閼貊筧嶗醢犦壈斊鑇僡蘚∥鎽諦攝窩鑫煹醢䒫嗘俋矇忊侳詁鉚䌄貊
頺ⅩⅩ＃醢犦侢叝䌄貊頺￥䯒Music in the Summer Air䯓䯖貊筧䌄貊岄苳蠶䆗醮侢啯·㫶
蹕罁惔麇鎽諦岄苳、嗎妘棾䯖䌄貊頺㮍㛽鑫鲶㖌犦侳艊鄟郿穚貊貊筧。餚蹺艎咲穚貊貊
筧。㒂趼諦䇗諎媘貊筧。榙楁穚貊貊筧鴛恦啢抲綖。榙楁穚貊鴛鲈㿫諎。調鈵昤蹺襫頴
啯貏⿺鳘銊梮䒛貊筧。癛䃸䉣妘鲮閼貊筧。訵棾煹甡熱䯥踹喺啯·墴愛贜黥働掓㒂趼諦䇗
諎媘貊筧。兙⿺験儭·詁竑桞䒫漛㛅雲䯥燆樴驌㳚倇。粀擊。陸㳚昤·燆鮩。椂䇻䈠。棜鲑
㫶。䧫餚。娰暷烔。䙧椡。呚蜫餚。桛蟐銊。媑襫鬉。媑婠酽。䅘鬰。貿瀷犾俓·杚驌昤
鄐。粓緤騚。躜竑·賣壦。椌㒂·㜀桞。鈵惛·㠿綊。諍鮩俓·㡜壔。壦蟨·蟬喺鲡訵錫䅅䯖㚯
醢犦鮪瀯妘侢俍酽萲
侸蹺䅕䎈啱頯梮咲嶗筧䄯艊䏣㳕、
㫔謭跫翨
澑侳䯖貊筧雩竍忲豕趵梽椨䯖飨惼嗴蹺䅕踽牐甡熱壈鯫踵踽鄡䯖䅖醁鮪鲡爳。銊
爳。漥爳諤俋╙壈嶗鰱嶼㫧
34
㛅䃾甡熱䯖謾跤藥愥1990妘鮪鄟郿則廟▕䌄貊鄭蹁窩妷蜵
醢犦鲮閼貊筧鞯鄻䯙SHANGHAI SYMPHONY ORCHESTRA
㛫䌄貊鄭100囈妘艊豕鯫䌄貊∥䯖2004妘鮪榙楁穚貊俋鄭蹁窩艊妷蜵醢鲮婠筧125囈妘豕
鯫䌄貊∥䯖2003妘鮪銊蹺11跣╙壈艊墘甡䯖2004妘＃跤熴旝誼妘￥漥爳墘甡䯖2005妘
㒂紬窛墘甡飨倀2007妘醎雩鄐㳟頥俋鄭䌄貊∥訵、2009妘䯖貊筧鮪粷麇䌄貊岄苳蠶䆗艊
夃䎘醣䯖㫧
鑫12鯫彾嗚艊譯銊墘甡、貊筧鮪墘甡跤啔跤蹺艊
酛䌄貊醮鲮閼貊酁諦䯖
攝㬬熱昦艊
甡嫮媀䯖妛俋撾扢妭跤蹺旝誼䯖糴勢趼㒂昷㓅
艊硰砮漜㫚、2010妘3
桸䯖蠶䆗籹醢犦鲮閼貊筧㡺燆賣贋鎢訅鴛蠐嗘㠣侸颣䌄貊頺䯖妛鮪雲煛嶗鈵貿跏姫╙壈
甡熱䯖糴勢諤翨䗮姪㛊麽、2010妘7桸䯖蠶䆗夃䎘貊筧鮪鄟郿跤俖駡艤蹁
䌄貊∥䯖煢媆鑫斶醐謖㓅
妛鮪▕啯嶗烲ー㫧
鑫錫扢跫贜
、2012妘7桸䯖蠶䆗畝漛夃䎘貊筧贋鎢孭蹺蓴駻墕䌄貊頺䯖
鑫彾嗚甡熱、2014妘1桸䯖鮪䌄貊岄苳蠶䆗艊籹䎘醣䯖醢犦鲮閼貊
筧㡺漥爳墘甡䯖貊筧鮪孭蹺帩喺䧸。鄟愛ー。蟨䆗嶗駻賣䅏働昤竑踹訵╙壈艊甡熱驔嬱
嫕鰱㓅
艊酽靪偡㛊、2015妘侢䯖醢犦鲮閼貊筧剴啔墘甡艊㢹㬅怳俋勢瑪銊爳䯖䅵鑫䒫
襽鄟郿躐侳䯖㫤鮪㳚郿硰廟澤。壉呴㜀昤頴濕昤倊醢赗嫷甡熱、
螻䒝蛼∥
杚倀䗮䇖頯梮曧醢犦鲮閼貊筧躏醭咷㪪艊躏烏䯖雩曧醢鲮螻䒝醢犦㫥姫＃瀭鳅￥
╙壈。
駱╙壈旝閗艊桹撾㬠嬛、䆠菑醢犦鲮閼貊筧䌄貊鄭鮪2014妘9桸艊澐媀悅駱懲
羮䯖醢犦鲮閼貊筧恔㪉艁妘艊櫇嶎黌踵粷呺䯖婩蕓筧鄭諦酽艊瑪昦㫜鬫浧媀、醢鲮醮
鄟郿穚貊嶗醢犦䌄貊叧䅳諦慘攝窩艊醢犦貊䄯叧䅳䯒SOA䯓㫚棾訅酽恊昦羠駱叧、鮪
瑪昦艊醢鲮䌄貊鄭甡頯鄭跤䯖婜醁菑僔鲋1984妘。靕1991妘㡽呯梕蹁窩艊醢鲮咇廟貊
䌄貊∥、
䆠菑粷魍誼㫧蠿艊醭昢扢㫧醮蹺䅕誼蠿姪艊醭昢抲緣䯖醢犦鲮閼貊筧啔鮪醢犦╙壈
赗蜶。跤蹺蹺咲嶯宺。跫翨蹺䅕痐牐艊媆䎘醣䯖飨赗苩烢赗醮跫翨佪㖌慘踵豕趵誼艊
㬉烢。飨頯梮靧醢絔寳慘踵鎲趵誼艊槪豈、135妘棾䯖醢犦鲮閼貊筧證鄽䏣䇹。怱魳頌
䯖㣻
菑＃羮䌄貊煥㬦跫翨￥艊懲噯䯖彾踵趼㒂昷旝誼鲮牐嶗鲡爳䌄貊斊鑇艊扢誤鍎
醮▔門鍎䯖婜醁菑醑跣跫鄅賂駥櫇嶎、
35
SHANGHAI SYMPHONY ORCHESTRA
A SYMPHONIC POEM IN THREE CENTURIES
A
long with Western art introduced to China, the Shanghai Symphony Orchestra was
established. After a history of three centuries, the Shanghai Symphony Orchestra now
presents a new image to the world.
Shanghai was opened in 1843 and since that time, foreign cultures entered mainland
China and integrated with Chinese local cultures through this commercial port, which
created many of the first in Chinese cultural and art history. Shanghai Symphony
Orchestra's predecessor was known as Shanghai Public Band in 1879, which represents
the beginning of a new era when modern Chinese people start to accept Western music.
In the 20th Century, Italian pianist Mario Paci has built the orchestra into "the best in
the Far East" with over 50 artists. The growth of SSO represents Asia following the pace
of Western culture stepping into modern society. With increasing numbers of Chinese
musicians and music works performing on the stage, audiences not only can see Chinese
artists in this Western band, but also enjoy the beauty and creativity of Chinese music
through Western musical instruments. Arrigo Foa took over conductor after Mario Paci
in 1942, and musical activities successfully avoided suppression in this upheaval period
of history in Shanghai.
Huang Yijun became the first Chinese conductor on the symphony stage, thus leading
the new age of Chinese musicians beginning to dominate the orchestra. The Orchestra
formally was known as the Shanghai Symphony Orchestra in 1956. Under the leaderships
and efforts of all concert-masters and conductors, there were more and more repertoires
been played and increasing proportions of Chinese musical works been showed on
the stage. The orchestra also continuously expanded the scope of international music
exchange, so that Chinese artists were able to gain more stage experience. A large
number of Chinese and foreign composers and musicians performed in the history of
the Shanghai Symphony Orchestra. In 1984, Chen Xieyang succeeded as president after
Yijun Huang, and then became musica director of the Shanghai Symphony Orchestra
who was the first music director in the history of Chinese culture and arts. Shanghai
Symphony Orchestra consolidated the status of domestic first-class orchestra throughout
20 years of continuous efforts, and they created a significant reputation in Asia
and impacted the globe.
36
醢犦鲮閼貊筧鞯鄻䯙SHANGHAI SYMPHONY ORCHESTRA
SPIRIT OF PIONEERING
In 2008, the Shanghai Symphony Orchestra's council setup the Musical Director position
and hired Long Yu to became the first Music Director of the Shanghai Symphony
Orchestra. Long Yu has many relationships with top-notch orchestras all over the world.
The orchestra implemented a new system which manages both the foundation and
council, which represents the beginning of a remarkable new era of SSO.
The core of SSO is professionalism, and the goals are to become the top in China, the best
in Asia, and the most important influence in the world. The orchestra plans to promote
reform by multi-pronged approach. SSO introduced a system of employment contracts,
recruited excellent musicians on the global scale, gathered world-famous performers
together in the form of artists-in-residence, guest performer and concert master. The
orchestra invited many world-class masters to reinforce the foundation of music seasons
and guarantee high quality symphonies. In recently years, a large number of conductors
performed with SSO, including Kurt Masur, Riccardo Muti, Sir Neville Marriner, Charles
Dutoit, Christoph Eschenbach, Zubin Mehta, Alan Gilbert, Neeme Järvi, Myung-Whun
Chung, Mikhail Pletnev, Vladimir Ashkenazy, Michel Plasson, Krzysztof Penderecki,
Paavo Järvi, Jacek Kaspszyk, Osmo Vänskä, Fabio Luisi and so on; violinists Pinchas
Zukerman, Vadim Repin, Shlomo Mintz, Maxim Vengerov, Midori, Sarah Chang, ChoLiang Lin, Lv Siqing; cellists Yo-Yo Ma, Jian Wang, Mischa Maisky, Lynn Harrell, Li-Wei
Qin, and pianists Fou Ts'ong, Yin Chengzong, Gary Graffman, Rudolf Buchbinder, Elena
Bashkirova, Krystian Zimerman, Lang Lang, Yuja Wang, Li Yundi; "The Man With the
Golden Flute"- James Galway, Clarinetist Sabine Meyer, drummer and multi-percussionist
Martin Grubinger.
Along with traditional symphony, the orchestra is also involved in large vocal performances
such as opera and oratorio. In the 2014-15 concert season, the orchestra brought Elektra,
Carmina Burana, and Elijah with outstanding domestic and foreign singers and chorus.
The SSO also places serious emphasis on the performance and promotion of works by
contemporary Chinese composers and has maintained good relationships with them.
For instance, Zhu Jian-er, winner of the Lifetime Honorary Medal of the China Golden
Bell Award, is the first and only Chinese composer who has published recordings of his
complete symphonies and orchestral works. SSO has performed more than 10 pieces of
his symphonies and recorded his complete orchestral works with enthusiasm. In May
37
2002, SSO participated in the publication of the first Chinese personal symphonic
collection Zhu Jian-er 10 Symphonies Sinfonietta. The SSO has also created a showcase for
Chinese composers to present their music works to the world, including "new-generation"
composers like Tan Dun, Qigang Chen, Bright Sheng, Zhou Long, Chen Yi, An-Lun Huang,
Xu Shuya, Guo Wenjing, Qu Xiaosong, Ye Xiaogang, Tang Jianping and so on. The orchestra
achieved international successes by working with Tan Dun on the original soundtracks
of Crouching Tiger, Hidden Dragon and The Banquet, The Map (multimedia symphonic
work), as well as Nu Shu (micro film symphonic work).
In the 2015-16 Music Season, Chinese composer Qigang Chen will be the artist-in-residence
of this season. He will bring Shanghai audiences Instants d'un Opera de Pekin for opening
concert. Also, Chen is going to perform 9 masterpieces including Un temps disparu for
Erhu and Orchestra, La nuit profonde for Jing Hu, Jing Er Hu and orchestra, Iris dévoilée,
Wu Xing, Er Huang, L'eloingement, Luan Tan, and Yuan.
SPIRIT OF INNOVATION
SSO has opened up two great music brands - the Shanghai New Year Concert and Music
in the Summer Air Festival.
Since December 31st in 2009, SSO invited maestros Riccardo Muti, Kurt Masur, Mikhail
Pletnev, Alan Gilbert, Christoph Eschenbach and Paavo Järvi to conduct New Year Concerts
from 2010 to 2015. Concerts were broadcasted live to the world via CCTV, Dragon TV and
Phoenix TV, offering a great opportunity for world-wide audiences to enjoy the splendor
of masters while presenting the cultural image of Shanghai.
After the Shanghai New Year Concert, Music in the Summer Air Festival has become the
focus of the next musical exploration of SSO. In 2010, Shanghai Symphony Orchestra
and Shanghai Municipal Education Commission successfully held the first large outdoor
classical music festival together in Shanghai. The festival was co-directed by Long Yu
and Charles Dutoit. In the past six years, the festival invited New York Philharmonic
Orchestra, Royal Philharmonic Orchestra, West–Eastern Divan Orchestra, Violinists of the
Berliner Philharmoniker, 12 Brass Players of the Berlin Philharmonic Orchestra, the State
Hermitage Orchestra of Russia, Macao Youth Orchestra and so on; Daniel Baremboim
led the West-Eastern Divan Orchestra, and Natalia Gutman made their Chinese debut;
38
醢犦鲮閼貊筧鞯鄻䯙SHANGHAI SYMPHONY ORCHESTRA
Ivo Pogorelich, Jian Wang, Chris Botti, Xuefei Yang, Li Yundi, Ying Huang, Changyong
Liao, Wei Song, Song Zuying, Sumi Jo, Zhang Liping , Zhang Jianyi, Chen Sa, Zbigniew
Preisner, Mariza, Ute Lemper, Jessye Norman, Laura Fygi, Steve Reich, Paco Peña and many
other musicians. Therefore, Shanghai audiences were able to enjoy music from many top
international artists and orchestras every summer.
GOING GLOBE WIDE
With help from professional organizations, SSO has visited many countries and
regions in Asia, Americas, and Europe, so that the orchestra was able to expand to
international markets. SSO made its debut at Carnegie Hall of New York to celebrate
the 100th Anniversary of the hall in 1990. The orchestra also performed at the Berlin
Philharmonic Hall to celebrate the 125th Anniversary of the SSO in 2004. SSO visited
11 cities in the USA in 2003, made its Europe tour during Sino-French Culture Year in
2004, held a Spanish tour in 2005, and performed at the Musikverein (Golden Hall) in
Vienna in 2007. In 2009, under the leadership of current Music Director Long Yu, the
orchestra toured North America to perform 12 concerts. In its international tours, SSO
successfully integrated Chinese traditional elements into Western symphonies, created
new performance form and promoted Chinese culture, which was really enjoyed by both
Eastern and Western audiences. In March 2010, Music Director Long Yu led the orchestra
performing at the 14th Beethoven Festival in Warsaw and Lodz, Poland. In July 2010, Long
Yu led the orchestra in a joint concert with the New York Philharmonic in Central Park,
New York, promoting the 2010 Shanghai Expo. In July 2012, Long Yu led the orchestra in
two concerts at the Schleswig-Holstein Music Festival, respectively in Kiel and Hamburg.
In January 2014, Long Yu led the SSO on a tour through Europe again, which received
consistent praises from local audiences in Munich, Nuremberg, Cologne, Amsterdam
and other cities. In the summer of 2015, Shanghai Symphony Orchestra expanded their
influence in the Americas, including New York, Rio de Janeiro, and Buenos Aires.
39
GIVING BACK TO SOCIETY
Promoting the popularity of high art is SSO's obligation and is the way that SSO gives
back to its "mother city"-Shanghai. It is also a powerful method of Urban Cultural
Contextualism. With the Shanghai Symphony Orchestra Hall officially put into use in
September 2014, the Shanghai Symphony Orchestra carries centuries of dreams into
reality, and starts the new orchestra-venue integration model. The SOA – a joint-initiative
between the Shanghai Symphony Orchestra, New York Philharmonic and the Shanghai
Conservatory of Music will hold the first orientation for their new students. The SSO
chamber concert which started in 1984 and held regularly since 1991 will be passed on
into the new Chamber Hall.
With the continuous modernization and internationalization of the world; the
Shanghai Symphony Orchestra will be led by Shanghai Urban Spirit, Chinese national
will, and international trends. SSO will always pursue high-quality performance, good
international reputation, and art-oriented philosophy as a professional standard.
After 135 year history, the Shanghai Symphony Orchestra will continue to always practice
its mission - "Music Connecting Worlds". Therefore, SSO has become the promoter and
builder of East-West cultural exchanges and Asian music education, and continues a
three century old glorious dream. 2014 will witness the achievement for the orchestra:
the official launch of the Shanghai Symphony Orchestra Hall and the inauguration of the
Shanghai Orchestra Academy. Under the orchestra-venue integration model, it is proud
of its continued commitment to the exchange between Chinese and Western cultures
and a world-class musical experience. The SOA – a joint-initiative between the Shanghai
Symphony Orchestra, New York Philharmonic and the Shanghai Conservatory of Music
will hold the inauguration ceremony in September 2014. The Friday chamber concert
passed on from the SSO's Hunan Road period, priceless legacy as it is, will extend its
own path into the new Chamber Hall. In collaboration with the Shanghai Municipal
Education Commission and the Shanghai Education Center for Art and Technology,
Shanghai Symphony Orchestra launched the MAP (Music Advancing Program) in 2010,
having already presented a diversity of chamber concerts and an interactive collection of
musical events in local middle schools and universities.
40
The future Shanghai Symphony Orchestra will be a creative intersection between the
public and music. Emerging and uprising through the past centuries, the Shanghai
Symphony Ochestra has its musical impact widespread over Asia. Fostering a modern
vision, it contributes to another dimension for the world to understand Chinese culture.
41
䌄貊岄苳 蠶䆗
謖㖌岄苳 䅘秷䅃
䖑筧慇慽 媑燳敽
貊䄯䒫夌 棜煟 / GUILLAUME MOLKO
貊䄯謄䒫夌 ZHANG LE
42
醢犦鲮閼貊筧鞯鄻䯙SHANGHAI SYMPHONY ORCHESTRA
筧䂏 囈妕
謄筧䂏 囈鲷雲 / 桏㣉
筧烏僡蘚 駁俋鎜 / 䅘噀
醝諦窩駡咇 踽麇 䅘噀 | 㠨烏跤宆 踽麇 囈澐餚 | 鳏撾㡊瑧跤宆 踽麇 粀䎨 | 鲇趵僨嗴跤宆 踽諎 梲麲
頺茩跤宆 岄苳 粀朥䈗 | 斊鑇惼嗴跤宆 踽麇 煄㛝䈯 | 惡峗跤宆 踽麇 鋛姾妘 | 醢犦貊䄯叧䅳 怱
蹺䅕瀷㡡怱
僡蘚∥ 怱
咃夌貊䄯䒫夌
咃夌訅鲈啢抲綖䒫夌
粀盤 棜
鮶㭄旝
鄏
䂏 駁俋鎜
䂏 䅘哢
咃夌跤抲綖䒫夌
咃夌俋抲綖䒫夌
咃夌俋諎䒫夌
咃夌躦誑䒫夌
棜呠捨
喺詁惛昤·鬰罁惛昤
䖂蟨
䋺啢賂
䖂昦橰
䂏觪 粀綊 䯙雜讛諎 钘陸䉯 棜敤錪 QING FAN 䯙俋諎 賰贜旝䯙躦誑 紹蕓怷 媑㖌㛗
䂏誑 囈鲡䖥 棜俋撾䯙怇韌貊 紹翜 㯞▔ 棯杫杫䯙襹綖 叆鞐嫳 䅘詵漝
貊䄯䄯䂏 呚蹺媰 | 貊䄯謄䄯䂏 槒凒 | 貊烏 棜㩵㫊 / 苧塻 | 㜷烏 釰觪 / 㮪醎妕 / 㿀櫇
貊䄯㡊鲲諎絔 囈曐呍 / 嬨㓌䖥
43
醢犦貊䄯叧䅳羾醢犦鲮閼貊筧。鄟郿穚貊貊筧嶗醢犦䌄貊叧䅳醑昷諦慘攝窩䯖曧醢
犦䌄貊叧䅳艊鲈鄀叧䅳䯖2014妘9桸澐媀婩叧、粷麇䅳䂏蠶䆗魯羠踵醢犦貊䄯叧䅳攝窩
鳏、叧䅳鏂㛽蹺廟侳䎈啱壎㡊筧䄯䯖酁諦豕趵▕蕬嶗呺㣻貙㜄蠿䯖飨醢犦鲮閼貊筧踵呺
㣻跤宆䯖椨婠蹺䅕諦慘鲮牐妕詬䯖瑪昷瀕▔門鎲趵貊䄯甡倗鳏忴、
䅵鄟郿穚貊貊筧醮醢犦鲮閼貊筧侳䯖叧䅳㫤嶗譯孭妭摙鲮閼貊筧。峾喺鲮閼貊筧。
昦鎢髕鲮閼貊筧。䒮珜諎媘貊筧。跤蹺穚貊貊筧嶗妭墕鲮閼貊筧訵婠襫鑫諦慘饅跀䯖抲
辭叧羠鎲趵貊筧呺㣻甡熱梽∥、
Shanghai Orchestra Academy (SOA) is established through the intercontinental cooperation
of the Shanghai Symphony Orchestra, New York Philharmonic, and Shanghai Conservatory
of Music. Its inaugural class began in September 2014. Maestro Long Yu is the president of
the academy.
Aiming for cultivating professional orchestral players of the highest standards of technique
and musicianship, the Academy provides rigorous training at the Master's degree level for
talented instrumentalists through private lessons, chamber coaching, repertoire class, mock
audition, professional seminars, etc.
A distinctive, integral part of the curriculum is the professional practical training whereby
students gain first-hand performing experience with New York Philharmonic, Shanghai
Symphony Orchestra, and other world-leading orchestras including NDR Symphony Orchestra
Hamburg, Sydney Symphony Orchestra, Singapore Symphony Orchestra, Hong Kong
Philharmonic, China Philharmonic Orchestra and Guangzhou Symphony Orchestra, etc.
孎惡誑Orchestraacademy
44
上海乐队学院
SHANGHAI ORCHESTRA ACADEMY
絔鲇䂏 楁鮪響
䅳䂏 蠶䆗 / 謄䅳䂏 媑塻 駁俋鎜
怱
䂏 駁俋鎜 / 謄怱
䂏 㮠長
叧羠謖雜 STUDENT LIST
啢抲綖
䅘䅃嚡嫰䯙蠿晩綖
䧫畐縰䯙暚䈘呍
粀長倇䯙粀凩
澓倿燒
攝窩梽椨 FOUNDING INSTITUTIONS
鄟郿穚貊貊筧
呭昷鈫襽 䯙WEBSITE
鎽跀翄㛣 䯙PHONE
愇羠㮻諪 䯙ADMISSIONS EMAIL
饉㛨㮻諪 䯙INQUIRIES EMAIL
醢犦䌄貊叧䅳
www.orchestraacademy.com
+86䯒21䯓54667821
[email protected]
[email protected]
勋伯格
《古雷之歌》
䌄
貊諍酽鞶恦倿鰱濕慘桏咲銷絆樴䯒Arnold Schoenberg䯖1874酽1951䯓酽羠艊攝
慘陝鰓踵鲕跣暚梕䯤＃叧羠暚魍￥(1893酽1897)。＃彾祾艊㜉屟暚梕￥(1897酽
1908)。＃靕羾晹㜉屟暚梕￥(1909酽1923)。＃鴛鲈䌄攝慘暚梕￥(1923酽1933)嶗＃銊蹺
暚梕￥(1933酽1951)、謾跤鰓㳝荱備喒飨晹㜉屟嶗鴛鲈䌄慘桏恖熴踵㳛䯖罌踵㫥蟢昦艊
㛳㔃嶗䏣樴醭鳢彾喥鑫慘桏咲梪鳏艊箏竑跣屟䯖雩嬁閼鑫竊豸斾跣鲈鴛跫鄅䌄貊艊㫧蠿、
醭㫓䯖銷絆樴艊鴛鲈䌄慘桏鉢跀妛醭曧浵裶熱跫䯖鍖曧鞲犗畑踽躏朷梕艊䌄貊㛳㔃
酽砎砎羠僨。㩸悈鍖棾、鑫㓦㫥蟢僨嗴艊㩴㬅䯖點镾桖獿贖艊絔㓦銷絆樴唻靕墰艊㮰訶
㛊麽䯤＃彿鞲梥鄮澏㫓彿桭設懲羮艊䏣樴嶗昷熴、嶼時鮪鲋彿粷鮪釀嬱瀷飨頌㒄偡䯥呅
桖䇗跤。桖彾祾、￥䯒㬕靕銷絆樴〔䏣樴醮攝嶯〕䯖餴鲋猀㛗䯖醢犦䌄貊熱穼蛼䯖2011
妘熱穼䯖訅3䎇䯓
玜緋談〔詁䈈躐潣〕喥曧㫥樭酽㯵鎽酁鑫犗畑醮粷魍艊橯檕躐慘、銷絆樴鞲1900
妘3桸婩僔㚧陝攝慘䯖茻靧1911妘呝彾䯖鞲暚䄄醢荱䯖雩㣮㢐鑫骼㜉屟勢晹㜉屟艊
攝慘暚梕、
銷絆樴㬕羮鑫踹䧍旝叧咲䇖陸壉欨䯒Jens Peter Jacobsen䯖1847 85䯓讜謖囅鲇㛝艊
孭㛗梪慘踵潣㛓、㛝潣僉棞鲋踹䧍
倇敭鲇䯖㚸㫼鑫跤跫鄅艊罁啯孭粓蹺粀醮嗋賓鮪詁
䈈╙ー艊梸鵄駡踽荁穚䯖粀謚罌劸偽鍖棅澰梸鵄、罁啯孭粓巉尰艊㜺㠩醢壵䯖罌澑糴勢
嶀鈼黌踵叞䙙䯖侺侺醮䙓䙙髦踵鼢䯖牐㫪鮪桪鄽邁姪銊偡暚賂艊詁䈈╙ー䯖詿紱岤鳏、
䇖陸壉欨麹曧靕磢踽躏旝叧咲䯖酽㠵蟝恔蟨叧艊攝慘屒醎䯖貶㫥䒫㛝潣䉯夠犗畑倇
妢。粷呺醮㢋粷呺鲮鄬妛鉝䯖謾跤艊樮宆踽䎪ⅩⅩ酘梐艊穚嵔。澰鲩。敿㡔醮靕磢躐
撾ⅩⅩ桖曧鉚矇艊犗畑踽躏䎪棞、銷絆樴誤羮姟俋艊甡熱釆壽棾姉嶗㛝潣䯖藥愥鲕謖箏
緋鍎。酽謖梋㛻鍎。酽跣玈佪諦緋䄯。醑跣翇佪諦緋筧飨倀鲮閼貊筧、給羾敽䀟艊彽談
巃。鄫隝艊貊䄯鄬鉢。踔哱艊約䌄誼嶗佪頥嫷。㜉屟醮晹㜉屟艊鲮訕薟粷䯖銷絆樴玜杝
艊瘍寫熱㛝潣閗酖䯖椥錨祇誤屟嶗巃榟撾、
斾㯵慘閔鰓踵醑跣㯵鰓、郿7鰓㾮。蜶蟴鍖櫇妢艊姃桏躐謚䯖訅酽㯵鰓飨翇偔踽鳏駡
艊唻緋踵踽䯖鞲酽婩僔艊鲒㛏ヺ鐬䯖屜㩸茻醣踵磍屜艊珣梐㳛㬮䯖 妛䆠躐崺閎嬱嶯㛌勢
酽賽㰊啔狆㬩䯖藥愥糪㠻艊穚嵔羗靧羠噯梪㦳、嵔巃艊
46
㫊嬟寚⺖㫷鄮澏䯖粀謚棅澰鑫
桏茩鞯鄻䯙NOTES ON THE PROGRAMME
梸鵄、過嬱燍嶯艊曧䯖粀謚妛梥熱鯫䯖銷絆樴飨䂏㫊6鰓㾮艊鏍貊䄄倗枩蛵㜑棅䯖䌄貊
鞲妕䉪靧稜⺲䯖嗴粷鑫崺談醿幆蠘鏅妛桭鄮稜僨艊㫓蠿、澑侳䯖詁䈈╙ー艊艀䥚彾踵愐
鳏誼艊晄㓅鍎䯖囅㫼梸鵄躐澰醮蹺粀艊脙醭漻羠、
訅鲈㯵鰓鳢酽䒫蹺粀艊箏緋䯖骼罌㠮䃾醢壵俵㡶梸鵄鍖⺖鈼踵叞䙙䯖骼噴嶯㒄醮醢俍
唻悇、䆠謚曧瑪桏㓕頥黌誼桭踵踔哱。桭錨桹倇妢。㢋粷呺頥嫷艊訅醑㯵鰓、鮪㢋粷呺
艊嗃䉳䯖紐翨艊罁啯孭粓鞲髏亊跤紱㲠墱鄽詛跫艊佖滿髦䯖㣥䆠骼酽㡽箊篊嬕徔、佖滿
髦艊瞝䙙羾醑鄩翇佪諦緋惔鄏䯖㳕羮螻佪艊鄬鉢棾婠椨䯖炚獻㭈鳏、謾䄄㫤桹酽瀕罁啯
孭粓艊靌炓陸俠昤怹慘啢醴䯖唻骼髦艊箊篊㫧
晹倈銨㛃、醮躐荁唻艊粷呺嗃䉳䯖酽瀕
嚙俓囅㫼䙓䙙髦鞲髏亊跤㲠棾暚嘪坽鰱⺲艊詵尵杛㝧、鍖茻勢瑪談啔喼暚忴熱粷艊梋㛻
鍎賒襽鮪晄艀艊㓕姪䯖給侢叝夌脹酽賽杛窹艊筊䏣䯖瀷覯罁啯孭粓嶎鮪䏣艊畍狫跤䯖啀
勢蒃䄄狆㬩艊穚嵔、桭鄮骼㳛昦驔嬱鑫呏呂嶗玜瘄䯖䌄貊螻勢鄌僕醮銊偡跤䯖枩蛵菑罁
啯孭粓墱鄽㳘磢。敡婮唻醢壵艊㚮鼹、鄮桏曧貊䄯醮馬㯵玈佪諦緋䯖酁棴鮪C俋㜉暺鲻艊
踽嶗媘醢䯖㝧嬕菑罁啯孭粓㫚棾鑫穚鳏。暀熱嶗昦艊羠噯、
訅酽㯵鰓錨桹暺朄艊犗畑踽躏朷梕䏣樴䯖喒謾曧罁啯孭粓醮梸鵄艊唻緋䯖魑鳏嶎㡽罁
樴鄐貊談〔竑㳚昤鬢醮黥踆啯孭〕跤銊傉㬃鳏艊＃侺躐鲈㳛緋￥、枩蛵㜑棅艊鏍貊瀇賒
嶗榙㫉貿艊〔妢嶎鲮閼桏〕叅鮪鎽跀、訅醑㯵鰓啢醴陸俠昤彽㜗艊緋瀇熱粷鑫晹㜉屟罌
踃、鍖梋㛻鍎艊䌄㜉賒㳕羮鑫約㛺約緋艊甡緋昷熴䯖張鮪貊㜷醢羮＃x￥槪㚶䌄觻䯖酓熱
俋氥艊㡽鼯䗮濱嶗赗薶頺倗䯖甡緋敱楇倇竑䯖㫥曧銷絆樴䆠謚晹㜉屟䌄貊攝慘艊鉚矇竑
嬕躐酽、
1913妘䯖銷絆樴㫚棾鑫〔詁䈈躐潣〕艊䒫甡彾嗚䯖貶骼雩桪醭晹㭤廧艊螻宎㭠䯖嫕
妘鮪骼攝慘設梕䯖酽瀕骼忞斲㳛艊桻傖桪㛊麽㫥㯵慘閔＃鈇貂麇駁瞝巃䯥煫桹麇駁晑嬣
嶗
嵔䯥楢秪貂嚌䯖潣緋㯵鰓釀嬱絹曧咅㔃䯖呝瑪醭絹潣桏￥、磢鍖䯖暚䄄墱鄽㛇暺䯖
㫥㯵慘閔曧偧澑艊箏攝妛哱桹巃榟撾䯖灖醭㬖頥鲋䖂寫。罁樴鄐艊讜貙慘閔、㛊㛀咲
Wellesz喥桪鄽㛺＃謾䌄貊忞夃棾艊䈘廧㢹詵瀷愐罁樴鄐艊潣談〔㛾蜶艊䧫暻〕、￥誆曧
羾鲋甡熱䅅咷姟俋。䇏姪椥䗮鍖㪏啨踵鳏髦祾蓜䯖叅跫艊嫚䌄穼梪雩醭侸、
羾澑荱棾䯖〔詁䈈躐潣〕莏絹曧銷絆樴艊酽跣釯嬁、謾麽過艊晹熴幫㳝暆墱⺖鑃呯䯖
貶曧頢猅。獿贖艊䌄閼醮屒嶎廟猔䯖漲咷曀㚯鳏罌鐂磢㡽斲鍖鲲羠㣣蟇巃、骼髦曧䌄貊
諍跤艊䇖犧昤蜶䯖桹菑跏媑䉳厽䯖酽媑梒謭㫓詛艊犗畑踽躏䯖酽媑燍㓉梥棾䯖扢婩粷魍
踽躏艊俋䃸、
47
47
ARNOLD SCHOENBERG
GURRE-LIEDER
n music history the creative phases of
I
Austrian composer Arnold Schoenberg (1874-
1951) are usually divided into five periods:
studying period (1893-1897), mature tonal
period (1897-1908), free atonality period (19091923), Twelve Tone period (1923-1933) and the
American period (1933-1951), wherein the
atonal and twelve-tone techniques took up the
largest proportion, as this new music language
and style not only shaped the composer's own
unique personality, but also affected almost
the entire process of 20th century music.
However, Schoenberg's twelve-tone system is not built in one day, but in a gradual evolution
from the late Romantic musical language. Understanding this development process, one can
forge a deeper understanding of Schoenberg's self assessment: "I have never abandoned the
style and approach I originally used; the difference is that now I compose better than before;
it is more concentrated, and more mature". The massive cantata Gurre-Lieder (Song of Gurre)
is such a transitional work that links the romantic with the modern. Schoenberg started to
composed it in March, 1900 and finally completed it in 1911. From the chronicle aspect, it
spanned from his tonal to atonal period.
Schoenberg chose the poems by the Danish novelist Jens Peter Jacobsen (translated from
Danish to German by Robert Franz Arnold) as its text. The poems tell the medieval love-tragedy
of the Danish king Valdemar Atterdag for his mistress Tove, and her subsequent murder by
Valdemar's jealous Queen Helvig. Valdemar accuses God of cruelty and is turned into a ghost as
punishment and dwelts with his dead vassals around the castle where he spends happy times
with his lover, summoning her ghost.
Although a naturalistic writer who has always adhered to the rationality and logic of writing,
Jacobsen in this poem juxtaposes romantic fantasy, reality with surrealism, in which the core
themes - love, despair, death, redemption and the power of nature – are typical romantic ones.
48
桏茩鞯鄻䯙NOTES ON THE PROGRAMME
Schoenberg used a huge orchestration to set the poetry, which includes five vocal soloists, a
narrator, a mixed voice choir, three male choirs and a large orchestra. Through a keen sense
of drama, a delicate texture, rich chromatic harmonic color, tonal and atonal overlapping,
Schoenberg clearly outlines the context of the poems, provocative and appealing.
The whole work is divided into three parts. In the first part, after a seven-minute mysterious
and dreamy orchestral prelude, there is a duet between Valdemar and Tove, who recount their
love, anxiously awaiting their next meet, realizing the sadness that everything will disappear,
including their precious love and even their lives. Emotional expression is soon forced to
terminate as the queen kills Tove. It is worth noting that the queen has never come on stage,
Schoenberg uses a six-minute instrumental interlude to imply murder, where the music
develops from tranquility to burst, showing the tragedy slowly accumulates and eventually
erupts. Besides, a pigeon from the ancient castle becomes a personate spectator, narrating how
sorrowful Valdemar feels for Tove's death.
The brief second part consists of just one song in which the bereft and distraught Valdemar
accuses God of cruelty and then punished by the god and turned into a ghost. He decides to
fight the god. Then follows the third part, which is the most fantastic and surreal with complex
plot. On the surreal aspect, Valdemar calls his dead vassals from their graves to fight for him.
The restless roaming and savage hunt around the castle at night is thunderously depicted by
the male chorus, and there is a humorous interlude in the grotesque song of the fool Klaus who
is forced to ride with the macabre host when he would rather rest in his grave. On the realistic
aspect, a peasant sings of his fear of the eerie army awakening from their graves. A gentle
orchestral interlude depicting the light of dawn leads into the melodrama The Summer Wind's
Wild Hunt, a narration about the morning wind, which flows into the mixed-choral conclusion
Seht die Sonne! ("See the Sun!"), implying Valdemar has relieved and given up his crusade on
the god. The Finale is an eight-part mixed chorus with the orchestra, ending on a bright C
major chord that symbolizes that Valdemar is ready to embrace his love, sunrise and new life.
The first part of the work bears a distinct trait of late Romanticism, especially the duet between
Valdemar and Tove, reminding of the Love Duet in Wagner's music drama "Tristan und Isolde".
The orchestral interlude suggesting murder has some intertextual link to Berlioz's "Symphonie
Fantastique". In Part III Klaus's aria shows some atonal factor. In Des Sommerwindes wilde Jagd,
Schoenberg also introduced the first use of Sprechstimme, a technique he would explore more
fully in his later atonal works.
49
The premier of Gurre-Lieder in 1913 was a success, but Schoenberg recalled with regret that at
the beginning of his composition, a respected friend of his evaluated this work as "lack of any
inspiration; no melody or expression; boring, the singing part is written like a declaration,
nothing like a song." However, time has proven that this work is so original and expressive,
nothing unlike the works by Mahler or Wagner. Critic Wellesz remarked, "the impact it brings
can be compared to Wagner's Gotterdammerung." However, because of its large orchestration
and technical difficulty, Gurre-Lieder is less well known, and there are few recordings available.
Seen in this light, Gurre-Lieder is like a microcosm of Schoenberg. Its value is incalculable
and has long been affirmed, but its incomprehensible sonority and ideological contents
makes the audience appreciating it from a distance. Gurre-Lieder can be compared to Janus
in the music sense, who has two faces, one facing romanticism in the past, the other looking
to the future of modernism.
摝袚䯤䞝縇
錼㛗䯤厽醎圐
TEXT䯤LU YAO
TRANSLATION: KONG WEIFENG
50
潣㛓䯙LYRICS
訅酽㯵鰓
PART I
1. 姃桏
1. VORSPIEL
2. 罁啯孭粓䯒翇䗮䌄䯓
2. WALDEMAR (TENOR)
澑贖䯖䧫暻懲犦䅖峷晹佪峗䯖
Now dusk mutes every sound
牐鲑烰鏅鲋俍㫅、
on land and sea,
呂䉪啌䃽鑫欨楁艊炚䃸䯖
the scudding clouds have gathered
玜瘄艊犦犗玪玪妕峗、
侲䅃㒂煆䯖搚醣踕頥䂏ㆫ䯖
鮪燆犗艊妽沖醢櫇嶎暺俍艊駥鍅、
澑贖䯖鮪欨楁艊雲轉跤槷梣鄚趺醭誤、
澑贖䯖桭孎媥艊佪䌄雩堝醭勢、
呏潛壚䯖彿艊宆䯖呏潛壚䯋
close against the margin of the sky.
Silent peace has closed
the forest's airy gates,
the limpid sea-waves all
have lulled themselves to rest.
Westward, the sun
throws off her purple robes
彿艊瀯酽趺撾㳝㰊煆駱彿櫇艊尒悹䯖
and dreams upon her couch among the waves
螻勢鑫莏呺艊靕墰䯖
of all the glory of the coming day.
誆桹妕䉪䯖煫桹硡峫、
Now not even the smallest bush stirs
in all the wood's resplendent house,
now not the faintest sound is heard.
Rest, my senses, rest!
My every power sinks
into the lap of its own dreams,
and I am inward drawn upon myself,
tranquil and free of care.
3. 侸鵄䯒偔䗮䌄䯓
3. TOVE (SOPRANO)
縑䯖嫕桸賂㪇苢瓁㫓䯖
O when the moonbeams softly glide,
嶗妕醮呂䉪媗畑跫翨䯖
and peace and rest pervade the world,
犕眓艊犦爁跤鏖慚煫鑫烐䯖
㮰㳚艊欨楁跤偡備煫鑫槷、
then the vast ocean seems not to be water,
yon wood appears not made of bush and tree.
51
⺸砎俍裶艊醭曧鲑嫷䯖
Those are not clouds which adorn the heavens,
俋鰱醢㡽鼯艊醭曧嘪嚛、
valley and hill are not the surface of the earth,
賂嬁嶗頥嫷艊珪彽醭㫓曧酽鯫裶䯖
the play of shape and colour are mere froth,
酽賽醭㫓曧醢壵櫇跤駥鍅艊儂礣、
and all is but reflected glory from God's dreams.
4. 罁啯孭粓
4. WALDEMAR
䖂䯖彿艊䖂䯖踵鳘躅㣗嬱㫥躅幆䯩
醭䯖彿葽㓄倉艊㥋厸
㫑㬫鰱恦㭠㣵羱勢謚㫅、
詵倉酽呯㒄畝㣗嬱寚砎䯖
倉鞣磢鮪欨楁躐跤䯖
Horse, my horse, why this dragging pace?
No, l see that the road passes
swiftly beneath your hooves.
But you must go even faster,
you are still in the middle of the forest,
and l had fancied, by not dawdling,
彿嶎䯖偧楇醭惿婜䯖
l might already be at Gurre.
彿姉㛫墱鄽勢鑫詁䈈、
The forest thins, already l can see the castle
槷梣蠮聥䯖彿墱镾梐勢╙ー䯖
which surrounds my Tove;
彿艊侸鵄賓鮪㳚䉳䯥
Meanwhile the wood behind us
欨楁⺖揃鮪彿髦㦳謚
merges to a wall of shadow
烰彾酽㭠嬁亝、
But you must speed on even further.
詵倉酽呯㒄畝㣗嬱寚砎、
Look! The forest shadows lengthen
葽䯋欨楁艊嬁厸惛䂏鑫䯖
all across moor and field!
㭻扤鑫駈㳜嶗嚙羻䯋
Before they reach Gurre,
鮪骼髦勢㫊詁䈈躐頌䯖
彿酽呯㒄襽鮪侸鵄艊䃸頌、
鮪㮰粷鮪螻閼艊佪䌄匯澏頌䯖
䖂䯖倉㫑懴艊㥋佪
酽呯㒄鮪詁䈈艊橯醢斕斕慘閼、
l must stand at Tove's door.
Before that sound which now rings forth
ceases, never to be heard again,
your nimble hoofbeats, Racer,
must clatter over Gurre's bridge.
Before that withered leafⅩthere it hangsⅩ
鮪槷醢艊楢誥魖駱熅烐躐頌䯖
falls down into the stream,
倉艊鋱誄酽呯㒄鮪詁䈈艊姲䅳㳚
your neighing must echo
閼嬏鲑䈕＆＆
jubilantly about Gurre's yard ＆
嬁厸惛䂏鑫䯖佪䌄煆哘鑫䯖
The shadows lengthen, the sound dies away,
澑贖楢誥魖醣壚䯖澑贖倉詵飨澰詛䯤
fall now, leaf, now you may die:
罁啯孭粓荱㓄鑫侸鵄䯋
Volmer has seen Tove!
52
潣㛓䯙LYRICS
5. 侸鵄
5. TOVE
曐㪼輟崪䯖䃺䃺僨鲻艊犦烐
The stars rejoice, the shining sea
篞砮鰱惤怇犦嚩、
presses its wildly beating heart against the shore.
䉃紒鮪煛煛慘閼艊誥厸醢䎸悆、
Dew-jewels tremble on the murmuring leaves.
犦䏣瀊勛鰱愗悹彿、
Sea-wind embraces me in gallant sport,
䏣惡䤽鮪潣緋䯖╙繫鮪砎俧、
啢．厸髦啑熱屜賽艊茩賂䯖
偧颭啨偔髦嬫磢鰱妕峗
骼髦発嵔駣畯艊镹雚䯥
粯縁颭鱧䋸醭惽鰱燍㓉㫨昷䯖
瞐恦祙祙禯硢䯖䃺鍅賂顐、
Weathercock sings and the battlements nod.
Lads swagger about casting fiery glances
while rosy maidens strive in vain to calm
their heaving bosoms full of lusty life;
roses gaze patiently into the distance,
torches glow and burn with delight.
The forest now sheds its forbidding cloak.
澑贖䯖欨楁闛醣鑫頻圡艊侳倧、
Hark, in the town the barking dogs.
堝䯖╙ー㳚筯鮪芻誄、
And the surging tide of the staircase
醢緣艊詬䅆
bears the noble hero into port,
恦䗮㠻艊餚䇕夃駱╙䃸䯖
till he, upon the topmost tread,
骼鮪桭䗮侐㣮澒䯖
sinks into my open arms.
悅駱彿斔婩艊尒悹、
6. WALDEMAR
Never have angels danced before the throne of God
6. 罁啯孭粓
喥誽俍懲鮪醢壵艊呹姫頌鞡㥏䯖
雩瀷醭醢澑贖跫翨鮪彿䉳頌㣹鞡、
骼髦艊襹綖
棾艊〓䇖桏㜉䯖
the way the world now dances before me.
So lovely the strains from their harps never were
as these strains Waldemar's soul sings for thee.
But Christ was not prouder,
雩瀷醭醢罁啯孭粓艊瞝䙙踵倉潣緋、
seated with God,
▕萒鮪呝彾敿㡔艊忴灝徔鲅謚䯖䖚潔鰱醮
after the cruel war for salvation had passed,
醢壵妛鰩䯖
than Waldemar now stands, regal and proud
雩瀷醭醢澑贖罁啯孭粓儨髟⊕⊕鍖剴䖚潔
at Tovelille's side.
鰱襽鮪侸鵄艊㦳㫅、
With no greater longing have souls
瞝䙙唻俍⊕艊珣梐䯖
yearned to find
雩瀷醭醢嫕彿荱㓄癥寫犦囯醢詁䈈╙ー艊
the way to the realms of the blest,
瞖賂暚䯖唻倉蕎艊珣梐、
than l longed for your kiss when l saw
彿醭∥羮骼髦鱧呺艊╙亝嶗寋㛠呎氈
Gurre's towers
53
艊糪呹䯖
gleaming on Oeresund.
詛鲮懙俍蹺艊㪕礃嶗䈘鎍漻鎱艊曖䄉䯖
And l would not exchange their stout walls,
㫤桹忞桹艊鮒嬫䯋
and the treasure they faithfully guard
for all heaven's splendour
and deafening din,
and all the sainted hosts of the redeemed!
7. 侸鵄
粷鮪䯖彿訅酽漛㛺䯖
＃罁啯孭粓蹺粀䯖彿穚倉䯋￥
粷鮪䯖彿訅酽漛蕎倉䯖
媑婩儕霟愗悹倉、
偧楇倉㛺䯖彿墱鄽鶯㛏㫓倉䯖
7. TOVE
Now for the first time l say:
"King Volmer, l love you!"
Now l kiss you for the first time,
and encircle you in my arms.
徏曧桪鄽蕎㫓倉䯖
And if you say l have already told you.
彿∥㛺䯤＃蹺粀曧跣盡厸䯖
or ever given you my kiss.
誆嵽㚶酽暚艊隊鲇、￥
to that l say: "The king's a fool
偧楇倉㛺䯤＃彿薶呺曧跣盡厸䯖￥
who thinks of transient, tawdry things."
彿∥㛺䯤＃蹺粀曧唻艊、￥
And if you say: "l am indeed a fool,"
貶曧偧楇倉㛺䯤＃彿醭曧盡厸䯖￥
l'll say: "The king is right."
彿∥㛺䯤＃蹺粀莏鰥、￥
But if you say: "That l am not,"
罌踵嫕彿屒寳倉暚䯖
I'll say: "The king is bad."
彿∥蕎澰彿艊粯縁、
For l have kissed my roses all to death
The while l thought of you.
8.罁啯孭粓
遠侺勢鑫䯖
㮷峟艊䙓䙙
鞲⺖㭤宻艊亊裬穔㡽䯖
8. WALDEMAR
It is midnight,
and unholy beings
rise from forgotten, sunken graves,
㠰凮鰱茪菑
and gaze with longing
╙ー艊硑賂嶗棡鞈艊瞖賂、
at the candles in the castle,
䏣銨觛菑䯖
and the cottage lights.
蕘斞鑫襹綖艊媯倗䯖㱟椊艊蘕搾䯖
Mocking, the wind shakes down
嶗穚嵔艊潣佪、
upon them harp-songs,
54
潣㛓䯙LYRICS
呅髦諏炚䯤
and the clink of goblets,
＃彿髦艊暚魍酁棴鑫、￥
and love songs.
燆狣掦朎菑彿艊閠ㆩ䯖
And they vanish sighing:
彿艊忲詵飨巃㓩勢宆㣹、
"Our time is done."
禯硢艊蕎偧䞸郹艊䇹䯖
Living waves cradle my head,
䅅䅅発牐䅝魖鲋彿䯖
彿艊鐒驍漜嶩䯤
＃㫥曧彿艊暚魍䯋￥
貶曧暚賂䏳㬩䯖
彿雩宍䎍鮪遠侺澰詛䯋
my hand can feel the beating of a heart.
Swelling to life, there now streams down upon me
a purple rain of burning kisses,
and my lips rejoice:
"My time is now!"
But time is fleeting
澰謚䯖
and l too must die
彿∥㦳悩⻮喰壉䯖
at midnight!
悿慹䏣哹䯖
Then being dead.
鮪謚約侺艊桸賂㳚
I'II draw my funeral shroud about me
恦靕墰嶗脙餆窰窰憯鮪酽㡽䯥
against the cold winds,
鮪亊頌襹㡽䧸頥艊鴛叄楯䯖
to drag myself in late moonlight,
鮪俋鰱贖醣倉艊颲謖䯖
bound fast to pain;
髖駱澰鲩暚䯖彿啔諏峗䯤
and with the heavy cross from off a grave
＃彿髦艊暚魍酁棴鑫䯋￥
carve your beloved name
into the earth,
and sinking l shall sigh:
"Our time is done!"
9. 侸鵄
倉悅酓彿獿嵔艊酽葻䯖
9. TOVE
You send a loving glance at me
and then avert your eyes.
磢謚㩸蠩茩賂、
That glance alone pressed
鳢㮰酽葻䯖倉艊忲拠賓鑫彿艊䯖
your hand into mine,
澑贖䯖拠時艊忲椡婩鑫、
and now the handclasp fades.
磢鍖䯖踵鑫酽跣紱㲠穚艊蕎䯖
But for a love-awakening kiss
倉扢婩彿艊忲䯖忺謭彿艊驍、
you press my handclasp back against my lips.
嫕鳢鳢酽葻喥絹砕硰艊酽蕎
And can you then still sigh for sake of death,
55
砎禯穚艊瞐磜䯖
when just a glance can flame
㮰躅倉㫤镾踵澰鲩諏峗讖䯩
as does an ardent kiss?
鮪䗮俍䃺鍅艊曐㪼
The glowing stars high in the heavens
惐朥暚雩∥䆡㬌䯖
do fade at break of day,
磢鍖呅髦烔岯艊賂㪕
but with each midnight flame a new
鮪瀯酽跣遠侺㳛昦砎禯、
澰鲩曧偧澑蓪枃䯖
鏖慚䧫暻勢䧵暺躐䄄
妕䉪艊萉莐、
in their eternal splendour.
Death is so brief,
like tranquil slumber
between one twilight and the next.
And when you waken
嫕倉㲠棾䯖
there upon your couch,
倉∥荱勢䯖
clad in new beauty,
鮪倉艊妽沖醢
you will see
妘㪇銊蹉艊昦児䯖
a young and radiant bride.
褀菑垁昦甅鲻艊
So let us drain our goblets
⻨、
㚯彿髦踵鑫澰蜶妔椊䯖
in a toast to Him,
踵鑫媰俋圷䗮艊澰蜶䯖
mighty, adorning death;
䒃喼㫥㱟椊䯥
for we go to the grave
罌踵彿髦㡶謭髏亊䯖
like a smile, dying
夃菑孎觛䯖
in a rapturous kiss!
鮪筊硰艊蕎跤澰詛、
10. 罁啯孭粓
晹醮愛瀷艊侸鵄䯋
倉魑彿偧澑哱桹䯖
彿醭畝桹麇駁壔烢、
10. WALDEMAR
Extraordinary Tove!
You have made me so rich
that now l wish for nothing more.
My heart is so light,
彿艊宆嵔㫥樭㪇椡䯖
my mind so very clear.
俧閠㫥樭玜㲠、
Peace now keeps watch about my soul.
彿艊瞝䙙妕䉪䯖
l feel so still within,
廟宆呏呂䯖
so strangely still.
偧澑倇竑艊呏呂、
As though to build a bridge a word hangs
鏖慚楯㡽酽姫橯䯖 酽跣叄鮪彿驍醢崳犛䈘
trembling on my lips, but it sinks
56
潣㛓䯙LYRICS
䎸䯖 貶剴煆煫螻嫓鑫䉪哘、
back to rest.
唻彿棾㛺䯖倉艊宆偡絹澑贖
To me it is as if there beats within my breast
㫤鮪彿镹雚㳚㣹誤䯖
your heartbeat now.
侸鵄䯖偡絹彿艊囁煢
Tove, as if my breathing
㚯倉艊镹闙㡽鼯、
made your bosom rise.
彿荱㓄彿髦艊屒嶎
鮪酽㡽鲮
。狆㬩䯖
鏖慚荁㬮烰諦艊跏梸鲑䯖
酽讜䏭犛䯖敘黌鑫嫮笶、
彿艊瞝䙙呏呂䯖
and I see our thoughts
take shape and glide together
as clouds do, when they meet,
which once united drift
and change their shapes.
And my soul is still.
䧿䧿燍㓉倉艊菋菾䯖
l gaze into your eyes and do not speak,
晹醮愛瀷艊侸鵄䯋
extraordinary Tove!
11. 䄄倗桏
11. ZWISCHENSPIEL
12. 欨楁䥚厸艊潣佪䯒漛偔䗮䌄䯓
詁䈈艊䥚厸䯋䏳㫓噿噇䯖
12. VOICE OF THE WOOD-DOVE
(MEZZO-SOPRANO):
酽㣵醢崺閎訢鉔鑫彿䯋
Doves of Gurre! Sorrow has plagued me
棾壚䯋堝壚䯋
all along the way across the island!
鮪蹺粀䖔坽艊暀厸䯖侸鵄澰鑫䯋
Come! Listen!
䧸侺釳酄鮪鲋偝艊儕菋醢、
Tove is dead! Night rests upon her eyes,
偝艊宆䉪澏鑫䯖
鍖蹺粀麹磢澰鑫䯖
宆漲鮪筊㳜鰱㣹誤䯋
倇傉嬱絹犦犗醢艊酽韴韅䯖
㫚扟骼艊韅
which were the king's day.
Her heart is still,
and yet the king's heart wildly beats,
wildly, though dead!
Curiously like a boat upon the waves,
when he, for whose welcome
甅犛鮪䎌鞲艊燆犗㳚䯖
the planks in homage curve,
骼䯖鞳韅艊韀忲㧂醣澰鑫䯖
the steerer of the ship, lies dead,
獿獿艊犦鷑恦骼釢賓、
entangled in the deep sea-weed.
煫桹鳏镾踵骼髦憺㛣
No one can bring them word,
impenetrable is the way.
57
罌踵㭠㣵醭翜㬦、
Their thoughts were like two streams,
骼髦艊瞝䙙喥絹跏棷璏牐䯖
which glided side by side
鐻妛鐻倢獆、
Where do Tove's thoughts flow now?
侸鵄艊瞝䙙澑贖牐謭駁侐䯩
The king's thoughts wander strangely
蹺粀艊瞝䙙醭詵屒㚴鰱嬳嬢䯖
in search of Tove's thoughts,
啀恓侸鵄艊瞝䙙䯖
漲啀恓醭勢、
彿䏳嬱嬟㫨䯖㓈嬱畑俍崺藹䯋
彿鮪蹺粀艊鐻醢荱勢鑫瞝槀䯥
䋺呂悪菑呅、
finding them not.
l flew far, sought for grief,
and have found much!
l saw the coffin on the shoulders of the king;
Henning supported it.
The night was dark, a lone torch
侺嬟䧸䯖酽敆叞雜艊瞐恦
burned along the way;
礣菑㣵䯥
it was the queen who held it,
曧粀謚蹁菑瞐恦䯖䗮䗮襽鮪╙繫醢䯖
high upon the battlements,
侟鞅艊噴宆禯硢䯖
obsessed with thoughts of vengeance,
偝媰宧醭牐艊燐烐
the tears she did not wish to weep
鮪菋㳚䃺砠、
glittering in her eyes.
彿䏳嬱嬟㫨䯖㓈嬱畑俍崺藹䯋
l flew far, sought for grief,
彿荱㓄䖧䖂艊蹺粀飽菑瞝槀䯖
and have found much!
酽謄嚙鳏艊⺸棴、
l saw the king ride with the coffin,
骼艊徔䖂䯖桪嘊漛㪉骼倢㡺钂濕䯖
粷鮪惛菑瞝槀、
蹺粀艊菋菾筊㳜鰱僑㓉䯖
捗啀酽跣茩賂、
蹺粀艊宆醭詵屒㚴鰱韓堝䯖
dressed in a farmer's garb.
His battle horse,
which oft carried him to victory,
drew the coffin.
Wildly, the king's eyes stared, searching
for just one glance.
鳢踵鑫酽跣叄、
Strangely, the king's heart listened closely
䋺呂唻蹺粀㚸㛣䯖
for a single word
鍖骼酽宆鮪啀恓酽跣叄䯖酽跣茩賂、
Henning spoke to the king, who all the while
蹺粀怇婩侸鵄艊瞝槀䯖
looked only for a word, a glance.
僑㓉菑䯖韓堝菑䯖鐒驍䎸悆、
The king opened Tove's coffin,
侸鵄晹佪晹峗、
staring and listening with trembling lips.
彿䏳嬱嬟㫨䯖㓈嬱畑俍崺藹䯋
Tove is silent!
l flew far, sought for grief, and have found much!
58
潣㛓䯙LYRICS
酽瀕販佖澐㒄惛誤醊踆䯖
A monk about to pull the ropes
斺閼朷㾮䯖
to sound the evening Angelus,
骼荱㓄鑫䖂㩱俓䯖
seeing the wagon driver,
蓜㭠鑫崺嵿艊澰㚵、
learned of the sad news.
跬㾮斺閼鑫䯖
The sun sank while the bells
俒䅃煆煫鑫、
彿䏳嬱嬟㫨䯖㓈嬱崺藹嶗澰鲩、
曧䧸啯醎壔艊篊䦓
濈宧鰱懃棅鑫詁䈈艊䥚厸、
tolled out a knell of death.
l flew far, sought for grief and death.
Helwig's falcon
'twas, that cruelly has slaughtered
Gurre's dove.
訅鲈㯵鰓
PART II
罁啯孭粓
WALDEMAR
醢踽䯖彿艊侸鵄澰鑫䯖
Lord God, do you know what it was you did,
倉蓜㭠倉妔鑫鳘躅䯩
when my little Tove died?
倉恦彿鞲彿桭謚艊妸悜忞䖇㬜䯖
You drove me from the last remaining refuge
誆桹鮪偝㮰㳚彿忴镾恓勢漜貊䯋
l had found for joy!
醢壵䯖倉姉嫕嶈巎䯤
God, it is meet you should blush:
侐澰鑫靓醵嵶酽艊銒銆䯋
Putting a beggar's only lamb to death!
醢踽䯖彿雩曧酽瀕鄴踽䯖
Lord God, l also am a monarch
彿酛熎艊惡棷蹰曧䯤
and this my sovereign creed:
烔醭壇俵靌炓
桭謚酽鄡壔梐、
倉扢
艊嬣熴䀨鑫䯤
倉曧柟鄴䯖醭曧粀䯋
醢踽䯖倉艊俍懲髦
my subjects l may never
rob of their last light.
The course which you pursue is wrong:
which means you are a tyrant, not a king!
Lord God, your angel hosts
continually sing only your praise,
誆∥醭昢鰱㡤䎔倉䯖
but you are more in need
詵曧倉桖䈑㒄
of one who can rebuke you.
桹鳏慇㠩倉、
And who would dare do such a thing?
㜇斝恔惔澑鲇䯩
Let me, Lord, wear your jester's cap!
踽䯖喥㚯彿忂醢倉婯靌艊夬厸䯋
59
訅醑㯵鰓
PART III
1. 罁啯孭粓
1. WALDEMAR
㡽棾䯖罁啯孭粓粀䗮㠻艊佖滿䯋
Arise, King Waldemar's noble men!
鮪隂䄄蟬醢羠䀗艊蘇䯖
To your loins gird your rusted swords.
鞲斊⊕僉熱啳啌艊荋䯖
From the church bring your dusty shields,
紱㲠阺棁艊徔䖂䯖
酓呅髦⺸醢䂆㳟艊䊞厸䯖
羮䖂書㤩呅髦艊鐣厸䯤
謭詁䈈╙ー㫧僨䯖
鞔俍澰詛艊鳏㒄䖧䖂熱詛䯋
2. 嚙炓䯒翇跤䌄䯓
grey-streaked with wasted figures.
Waken your horses' mouldering corpses,
deck them with gold,
set spurs to their flanks;
to the city of Gurre commanded,
today the dead ride abroad!
2. PEASANT (BARITONE)
欵棞苼獪榪榪閼䯖
Coffin lids rattle and clatter,
屜爺爺艊閳澒褀㫓䧸侺、
comes a heavy trotting through the night.
嘪醢酽穻䏳蔆瓋蓴、
The sod rolls off the hill;
亊鰱㾮䤿備䧫㳟閼鲻䯖
Above the tombs a ringing bright as gold.
澓鏍酾酾嫕嫕䯖
A clanking and a rattling
苸翀悩慂醢㦳䯖
through the armoury,
斊⊕㫅亊藨鄗鄗趕醣、
the tossing and hoisting of ancient gear,
鍈䦓誑誄䯖鞲⿺啱忺醣、
a hail of stones at the churchyard's edge.
斊⊕艊俋䃸婩饅醭匯、
罁啯孭粓艊佖滿䯒翇佪諦緋䯓䯤
瞘榪䯋
嚙炓䯤
骼髦棾鑫䯋䈘鎍漻鎱、
彿陝鑫醑漛鴛叄䯖烢醢壵墮餅彿艊咲鳏䯖
Screaming, sparrow-hawks swoop
from the spire.
Back and forth the church door flies.
Waldemar's Men (Men's Choir):
Holla!
Peasant:
There they go!
彿艊応厸䯖彿艊窡䖂、
Quickly the blanket over your ears.
彿誆㒄寳醑漛▕萒艊謖叄䯖
The sign of the holy cross
彿鰱㳚艊妵袗喥醭∥㭺澼、
thrice l quickly make,
畝鏥暺砎䯖彿鮪忲閳醢陝鴛叄䯖
for my kinfolk, my home, my cattle and horses.
60
潣㛓䯙LYRICS
彿踽▕萒喥曧㫥㳚糴鑫藹䯖
If three times the name of Christ l say,
㫥樭喥镾䅂侕䧸侺艊䙓䙙䯖
then the seed in the field will be safe.
䅂侕啢赗瞝艊䏳槪嶗爗褭墤鳏艊岪譙、
Wisely, l cross the very limbs
桭謚彿羮㿐棷嶗蓴俧﹖賓䃸䯖
where our Saviour bore his holy wounds,
䙬䙓喥㫧醭棾彿艊咲、
so l am protected from phantoms of night,
from the darts of elves a
nd the menace of trolls.
Lastly l bar it with steel and with stones
so no evil can enter my door.
3䯘罁啯孭粓艊佖滿
3. WALDEMAR'S MEN
醐螆䯖蹺粀䯖鮪㫥犦醢艊詁䈈
Greetings, King, here in Gurre-on-Sea!
彿髦浵㣮噿噇䯖箊篊詛、
Let us now hunt across the island.
瞘榪䯋裶爗艊菋菾䯖楢䖾艊忲䯖
Holla! Our arrows let fly from unstrung bows,
諣鞲晹媘艊媄醢䏳熱䯖
with hollow eyes and hands of bone,
啑褀鑫䇕䦤艊嬁厸、
to pierce the shadow of the stag.
瞘榪䯋鞲藹訥狋熱馾鰱艊䉃烐、
Holla! So that meadow-dew from
瞘榪䯋躜䥂媆㣵倢謭徔鯫䯖
䖂簍鮪嘪灀氺槷櫂醢㤕㫓、
瞘榪䯋侺侟酽侺䯖
彿髦㫥樭箊篊䯖茻勢咁繩躐暀、
瞘榪䯋寚㣗䯖篊筯䯖寚㣗䯖䖂簍䯋
the wound may spring.
Holla! To the battlefield
have the ravens led,
over beech-tree tops our horses trot.
Holla! l We will hunt again in the age-old way,
night after night, till the judgement day.
箊篊嬟寚喥∥酁棴䯋
Holla! Onward hound, onward horse!
彿髦襽勢鑫詁鍈艊╙ー頌䯋
The hunt only lasts a brief while!
瞘榪䯋酓爔▕蜶柟砮艊窣䖂檣秐䧍䯖
Here stands the castle as of old!
彿髦㒄踵嬔暀艊駥鍅俋掤咮夌、
Holla! Feed Loki's fiery oats to the mares,
we will feast on olden glories of yore.
4. 罁啯孭粓
4. WALDEMAR
侸鵄艊佪䌄鮪楁跤櫓櫓濱㛳䯖
With Tove's voice whispers the wood,
侸鵄艊儕菋僑㓉菑琒烐、
through Tove's eyes gazes the lake.
曐賂礣啑熱侸鵄艊孎觛、
And Tove's smile beams from the stars.
踔苢艊鲑梸曧偝䇻艀艊龌応、
The clouds swell like her snow-white breast.
61
彿艊俧閠䎏媰捗踆偝艊咷㞒䯖
My senses strive to give her form,
菋菾犧撾啀㓈偝艊剮嬁、
my thoughts struggle to find her image.
侸鵄鮪㫥㳚䯖侸鵄鮪㮰㳚䯖
But Tove is here and Tove is there,
侸鵄㫨鮪俍猌䯖侸鵄㫝鮪㦳晄、
Tove is far away, Tove is near.
侸鵄䯖㮰曧倉讖䯩⺖媰俋艊傄梮
Tove, is that you, bound by
憯鮪鑫銊蹉艊琒賂槷嬁㳚䯩
彿澰詛艊宆䨺㡽䯖鑙脙䯖
侸鵄䯖侸鵄䯖罁啯孭粓鮪餆岤菑倉䯋
a strong enchantment
To the splendour of the lake,
and of the wood?
My dead heart fills and swells,
Tove, Tove, Waldemar yearns after you!
5. 婯靌陸俠昤䯒翇䗮䌄䯓
＃䟹䞘曧酽蟢屪䤻䯖
5. KLAUS THE JESTER(TENOR)
岄曧賓鮪烐㳚䯖
"A strange bird is the eel,
詵鞲鞔謚酽桹桸鲻䯖
lives in the water mostly.
骼喥㒄倢㣗醢嚩、￥
but now and then, by the light of the moon,
㫥䒫潣彿㫓詛夠緋酓彿穞穠艊咃鳏堝䯖
he travels up to the shore."
粷鮪呅趕桭㬎諦彿靕墰、
l sang that often to my lordship's guests
粷鮪彿煫桹応厸䯖羠牆範梷䯖
but now it fits me best.
醭㛽咃勢咲㳚輜㱟葍䄉䯖
l don't keep house now,
詵麹㛺偧澑䯖
lead a very frugal life,
㫤曧桹嬟侸醭咥霨艊咲．汱妔鑫
l have invited no one home,
彿艊熌烐、
忞飨䯖醭諎彿曧醭曧貊嶯䯖
彿煫桹鳘躅愇嬜倉䯖
詵曧彿巻嶯斾侺醭萉䯖
誆㒄倉镾鶯㛏彿跣跤釐羾䯖
have not caroused
and made a lot of noise,
and still, despite all that,
there's many a shameless
fellow drains me dry.
So l have naught to offer,
俍俍遠侺䯖
whether l would or no,
彿㰊⺖㫷酄菑琒㣗、
but l would give away my nightly rest
壦濕。樴爔綫嶗≧襫陸鍈穤
to any who can tell the reason why,
雩㫥躅㣗䯖彿暺艀䯤
with every midnight I am forced
骼髦鞲棾醭惡蜶䯥
to make the circuit of this pool.
菋醣骼髦澐鮪䖂鑨醢抃䗆厸䯖
That Palle Glob and Erik Paa
62
潣㛓䯙LYRICS
㚶賓䯖嫕骼髦勢鑫鰱箘䯖
do likewise, that l understand:
倉㒄蒔鮪桭頻艊鰱昷䯖㫨㫨㮌婩瞐、
pious they never were;
㫤桹蹺粀䯖岄曧肬肬舖舖䯖
right now they're rolling dice, on horseback,
篸俧䦓酽誄䯖
mind you, for the coolest spot,
骼喥醭匯鰱軔酽跣僝児䯖
far from the fire,
when they arrive in hell.
㮰僝児澰鑫偡鲢妘俧鑫䯖
And the king, ever insane,
骼雩魖鑫跣讜樭醣鯫䯖
踵鑫
蛵駡㭠䯖骼⺖鈼詛怇篊、
骼岄曧㮷鑫䃸艊濈宧䯖
who from the moment that
the owls first cry,
incessantly calls to a maiden
鳏髦醭嬱醭鮪瀯酽跣惵㓕蒄梐䯖
抲䅂瞱蝝䅝踮、
dead these many years and days,
he too has earned the same,
骼靕墰曧㮰桸鲻躐侳艊
俋粀蹺咗婝跤艊
and for the sake of right,
婯靌、
he is compelled to hunt.
鍖彿䯖陸俠昤䯖熴惛働穞穠艊婯靌䯖
For he was always quite ruthless,
彿荁惡鳏鮪髏亊㳚鼷峗嬱桭偡䯖
one had to be on guard at every turn,
鮪㮰簍彿艊瞝䙙㫤嶗䖾鐉鮪酽㡽䯖
watching for danger always, with one eye.
妕妕呏呏荁鲒捵飽䯖
He was, himself, the jester to the court
呏呏䉪䉪豈侕贋鎢咗婝㳚桭謚艊咮夌䯖
of that great monarchy beyond the moon.
喥絹蟨犧竑爐媐㛺艊䯖
But that I, Klaus, Jester of Farum,
勢㮰暚鎬䯖誑㓕佪閼㡽䯖
彿髦㫥鲢澐牋艊鳏喥㒄䗮䗮蠻蠻
恦㮰鲢鉖鳏俋褸酽䎑䯖
偡絹彿髦曧䄙䤽、
闃蕁䯖彿酽呯㒄贋鎢㫥鯫肬筊艊㡡䖂䯖
I, who believed that in the grave
one would have perfect rest,
that my spirit would remain
there with the dust,
peacefully attending its concerns,
and quietly collect itself for that great
彿艊䩢厸寚蘕勢鑫䖂喿墴䯖
feast at court, where, as Brother Knut
㫥鯫㳜齯艊瀷㡡㒄恦鳏踙澰、
says, trumpets sound,
壺偧暚䄄㫤醭㫫䯖彿∥詛醢諞、
where we, the righteous, cheerfully
詵曧縑䯖嫕倉⺖愇醢鑫俍⊕䯖
will make a meal of sinners,
㮰桭謚艊璹嚌呺鮪穨、
as we would of capons.
㛺莏艊䯖彿笩醣艊鉖㫓詵醭啨䯖
Alas, that l must ride this frenzied race,
彿誆镾㛺熱酽酾砎䯋
my nose toward the tail,
wearied to death of this wild course.
If it were not too late, l'd hang myself
63
㜇∥恦䒚簍䉃鮪侳㫅䯩
But oh, how sweet the taste at last,
㜇罌踵鉖㫓㭺勢䊾怇䯩
Indeed, to be transported into heaven!
壺懲㫤湯醣酽砎澐躏䯖
Truly, the sum of all my sins is great.
㮰躅彿鑃呯∥鉢䉳鰱㫧駱俍⊕䯖
l can talk my way out of all but a few!
嫕磢榪䯖醢壵∥屍崷骼靕墰、
Who was it who dressed the naked truth?
And who, alas, was flogged for it?
Yet, but if there's any justice left,
then l must surely enter into heaven's grace ＆
forsooth, and then may God
have mercy on himself.
6. 罁啯孭粓
醢俍倉㫥飶贖艊咁繩䯖
6. WALDEMAR
You harsh judge up above,
倉銨觛彿艊脙餆䯖
you scoff at my distress,
貶嫕㮰酽俍䯖鐉鉢侟牆䯖
but some day,
㚶賓彿艊㛣䯤
at the resurrection of the flesh,
彿嶗侸鵄啔酁彾酽跣鳏、
mark well my words:
鼷嶎鰓婩彿髦邁讜艊瞝䙙䯖
l and Tove shall be one.
㚯彿艊醣鰱箘䯖㚯偝艊緣俍⊕䯖
So never rend our common soul asunder,
壠賒彿∥旽鑟
my portion into hell and hers to heaven,
貾藣倉艊俍懲氈滿䯖
or l shall gain the strength
夃䎘彿筊㳜艊篊鳏
to crush your angel guard
䃿駱俍⊕、
7. 罁啯孭粓艊佖滿
䇕䤽暪㡽鑫俧䯖喥㒄怇䤿、
艀朁墱賂踮呅艊啱鐒墴、
杒䉃鞲彿髦艊蘇醢獆醣䯖
and barge with my wild huntsmen
into heaven.
7. WALDEMAR'S MEN
The cock, about to crow, raises his head.
He has the day already in his beak.
And from our swords
抇菑郹䀗、
the morning dew streams,
彿髦艊暚魍酁棴鑫䯋
red with rust.
髏亊媑訥囁紱䯖
Our time is done!
燊鮃䆡鶜㡽㮰尵賂艊蜶蟴、
With open mouth the grave calls,
64
潣㛓䯙LYRICS
寚㣹醣詛䯋寚㣹醣詛䯋
and earth sucks in that mystery which fears
羠噯夃棾撾㳝嶗駥鍅䯖
the light.
夃棾嗚謖嶗㳜宆䯖
Sink down! Sink down!
彿髦嘄鲋澰鲩䯖
Life comes with might and splendour,
嘄鲋崺閎嶗澰鲩䯖
with deeds and pounding hearts,
嘄鲋脙餆嶗澰鲩、
勢髏亊㳚詛䯋勢髏亊㳚詛䯋
勢萉櫇㳚詛䯋
縑䯖彿髦誆镾鮪呏䉪跤萉詛䯋
and we are of death,
of sorrow and of death,
of pain and of death.
Into the grave!
To a rest pregnant with dreams.
O could we but sleep in peace!
8. 梋㛻鍎
瞗棷骾魯羠䯖飔骾偔佖䯖
8. SPEAKER
㡼寚鶜㡽棾䯖
Sir Goosefoot, Lady Amaranth,
侢叝䏣艊駈㯗箊篊婩僔榪、
duck down, and
槷楁㫅哣哣艊顲飌駣㳚
quickly too,
黋厸肬筊䏳鞡䯖
the summer wind's wild hunt
䏣鮪琒䉳贖醣䀅頥艊颭鄚、
is just beginning.
嫕呅棾勢暚䯖
The gnats fly anxiously about
酽賽瀷倉髦嶎㝧艊㫤㒄趖趇、
the wood grown
閾䯖呅鮪嘪灀氺艊誥厸㳚觛嬱侸躅䅄欨䯋
thick with reeds,
鬪瞐麠魯羠謫熱瞐郹艊鞇俧䯖
馾鰱艊牰䈏䯖枩獟艊澰鲩䅄嬁䯋
酽賽鮪錼瓋䯖掦朎䯋
酽賽鮪䈘閼䯖鸝緋䯋
䏣䅄㯎鰱惉怇籾貏誥厸䯖
the wind has graven silver tracks
into the lake.
It's much worse when it comes,
than you have ever dreamed.
Ha, how eerily it laughs among
the beech-leaves!
螻佪鮪徔槾艊羻鰱䏭駣、
There goes Sir Glow-worm with
﨣齎羮偝艊䂏隡酁鈫䯖
his fire-red tongue,
䏣搱蕚偝赗宆艊鬫㬬、
the heavy meadow-mist,
䉃烐瓲瓲詄詄牐醣嘪㜽、
a pale, dead shadow!
曐曐䏳㣗䯖酽醣厸椔晹㤱㬅、
Such billowing and swaying!
煛煛㬏㡶䯖褀㫓睟梣嶗譑覻䯖
Such ringing and singing!
65
䉣齌㣹㫧烐㳚㦺鶜、
Among the sheaves, the wind beats
鈹䯋䏣镾㒄鳘躅䯩
with a melancholy
嫕骼愝婯楢鬊艊誥厸䯖
sense, resounding through the shaking fields
骼鮪捗啀㮰蒃䄄呝酁艊趼㒂䯤
of corn.
曗俍艊颭梸寖㯎飗艀䯖
With her long legs the spider fiddles,
俋鰱蓪枃艊侢暀躐櫇䯖
呅髦暆墱誼踵啳≧、
貶曧䯖鮪骼脹㡽晑狫艊槷䎈䯖
鮪裶暛艊駈㳜䯖
鮪㮰㳚䯖絹酽鯫〓䇖艊櫇䯖
and the wind tears what she carefully
has spun.
Ringing, the dew drifts down into the valley.
Stars shoot and vanish all at once.
Fleeing, the butterflies rustle through briars
and hedges.
骼蓜㭠䯖颭梸鑃呯㫤鮪婩敡䯋
The frogs leap to moist hideaways.
骼褀㫓楈誥逫餰艊槷獰䯖
Hush! What can the wind want?
僨熱倇婬艊閼佪䯖
When he stirs the withered leaves,
畝漛謭㮰飰棷艊銊鳏䃾鎬、
he searches for what too soon has ended:
荱䯋粷鮪㮰雩呝酁鑫、
spring's blossoming verges blue and whiteⅩ
鮪晹嫮艊䅆櫐醢骼鐆嶯晑㩸菑䯖
earth's transient summer dreams.
煆駱暺䁬備艊琒烐、
They are long since dust.
鮪燆犗艊烔岯鞡㥏跤䯖
But upward above the trees he whirls
鮪趕曑艊暻枩曐賂跤䯖
now upward through open spaces;
骼妕䉪鰱掦掤菑䯖煆駱萉莐、
酽賽酽醣厸黌嬱侸躅呏呂䯋
縑䯖㫥樭暺鲻䯖㫥樭玜瘄䯋
粷鮪缽麠鞲颭宆㳚䏳熱䯖
啀恓倉艊穚鳏䯖暀熱嶗羠噯䯋
for there, like an exquisite dream,
he knows, the flowers are sure to be!
And with a curious ringing
through their leafy crowns,
he greets the slender beauties once again.
Look! Now that too is past.
酽誆䃺鲻艊﨡窡穔㫓馾趿、
On airy stairs he freely whirls
楁跤艊䤻簍㰊牆㣉㡽棾、
down to the clear mirror of the lake.
颭簍羱朎颭缾醢艊䉃紒䯖
There in the waves' eternal dance,
燍㓉俍醢艊俒䅃、
in the pale stars' reflected gleam,
㲠棾鑫䯖㲠棾鑫䯖忞桹艊颭簍
peacefully, he rocks himself to sleep.
婩僔漜貊䯋
How still it was, and all at once!
Ah, and so bright, so clear!
From your flower-chalice, ladybug, fly now,
66
潣㛓䯙LYRICS
ask of your mistress fair,
sunshine and life!
The waves already dance about the cliff,
already a bright-hued snail crawls
through the grass.
The birds of the wood are all astir.
A flower shakes dew from her hair,
and gazes upward at the sun.
Awaken, awaken, all ye flowers, to joy!
玈佪諦緋
荱䯖俒䅃
鮪俍㫅敡啑賂顐、
MIXED CHORUS
Behold the sun,
gay-coloured on the margin of the sky.
玜杒艊櫇妢鮪趼昷㫚扟偝䯋
Morning-dreams greet her in the East!
偝孎觛菑
Smiling she rises
蟇婩侺艊痐烐䯖
out of the night-tides,
鞲偝瞲砡艊䎰俧
and from her radiant brow there streams
㬄僨㪕礃艊賂顐、
the splendour of her locks of light.
潣㛓錼㛗。斾絔䯤㡻贜䅃
LYRIC TRANSALTION: ZHAO BOYANG
67
上海交响乐团
文化发展基金会
醢犦鲮閼貊筧旝誼僨嗴▕㳟∥艊頌㦳踵醢犦壈僨嗴鲮閼貊鲇趵▕㳟∥䯖鲋1985妘彾襫䯖曧飨＃敆慁嶗鄩鄬鲮閼貊昦慘
閔艊攝慘。戹鄨。甡熱䯥杚倀鲮閼貊䯥僨嗴鲮閼貊鲇趵￥踵呬暅艊頯梮貙▕㳟鄩鄬、侸妘棾䯖鮪諤鄀䎘啂艊饅宆嶗蛼∥諤翨
艊敆慁醣䯖醢犦壈僨嗴鲮閼貊鲇趵▕㳟∥㬦㫓㡊錫醮敆慁醢犦鲮閼貊筧艊鲮閼貊甡熱。杚倀。扢妭嶗蹺䅕鲮牐牆誤䯖蠘椥扢
誤醢犦鲮閼貊鲇趵僨嗴䯖僉嬱頠偡艊蛼∥儂閼、
踵㫧酽澒獿誼醢犦鲮閼貊筧梽壽敘䉺䯖㫧酽澒抲緣▕㳟∥艊嗚镾䯖懲醢鲮暆暀呺粷＃㬦㫓蛼∥誼艊梽壽攝昦。豕趵誼
艊梽椨諎絔嶗蹺䅕誼艊壈鯫㫜慘䯖怇㬬䌄貊鳏忴烰鏅。頯梮烐妕醖㢐。駡邁斊鑇酽牐。諎絔浧媀魯㫧。蹺䅕佪㖌頠偡艊鲡爳
䎈鄀。瑪絑魳謖艊跫翨〓蟐貊筧￥艊僨嗴茩槪䯖鄽醢鄀踽諎㯵䃸噴呯䯖醢犦鲮閼貊筧絔鲇∥醮醢犦壈僨嗴鲮閼貊鲇趵▕㳟∥
跏鍎斾諦嫓妛䯖澐媀桖謖踵醢犦鲮閼貊筧旝誼僨嗴▕㳟∥、
醢犦鲮閼貊筧旝誼僨嗴▕㳟∥糴壈旝妭嗁僡怐諎絔醢犦鲮閼貊筧、▕㳟∥絔鲇∥曧貊筧艊桭䗮噴詇梽椨䯖㠥㠩唻貊筧
艊僨嗴昷謭。頯梮呯瀕。㡊㳟墮䆭。鳏蘚㱚鉝。諎絔梽壽訵㳛俋鲇䎋㫧 噴詇、
醢犦鲮閼貊筧旝誼僨嗴▕㳟∥絔鲇∥彾蘚謖雜
∥，，，䂏䯤鋛㿐幋
夠烏謄∥䂏䯤钘峽聶
謄，∥，䂏䯤粀鞲曗，䅘賂咓，蠶，䆗
夠 烏 絔 鲇䯤䗮蹺哱，囈，妕，桏，㣉
絔，，，鲇䯤粀婠聶，粀昦犕，紹鄻響，㫓蘇䏳，叆酭
囈，
僡，，，蘚䯤鲋朥䉣
棜蹺狣，跛擊聶，當螆呂，侢蟨咲
蟴，霎，䂏䯤䅘，噀，
䯒慍僠炐觠翍戹謖䯓
68
，㚾鞐鲡
彾櫞槯，棜旝伈，䅘，趼，䅘陸呠，飝，暺，㳟，礖
，钘朡旤，㯺妭暷，嬨，㫊，嬨煟趼，騖，礢，坒，媰，⻍，昦，疛嚡烲，䧵緤捨
醢犦犑趼僨嗴䀅 鐭麋桹䅡駡誒曧1992妘8桸28暀鄽跤蹺鳏炓䀅 恊豈㛄襫䯖1993妘1桸9暀婩趵䯖1999妘11桸10暀鮪
醢犦㛇樞鲮曀忞慂窅醢壈䯒鐭蝄鲮曀魍蔅䯤600000䯓艊瑪蹺屟鐭麋壽縟趵䀅 䯖岄 㛄鮪醢犦、頠偡艊趵酺。㛠惡艊佪㖌䯖
懲犑僨䀅 彾踵跤蹺㛇樞壈鯫跤侕糴饅燍艊醢壈駡誒、鮪銊蹺〔㠨哱〕䯒FORTUNE䯓棇宺僨壉艊2015妘㠨哱跫翨500媰戹
汙䯖犑僨䀅 瀕燒瑪絑麟趵訅296瀕䯖㪏醢妘俋夿抲緣87瀕、2015妘6桸30暀䯖羾餚蹺〔䀅 咲〕(The banker)棇宺駡壉艊桭
昦艊＃2015妘瑪絑䀅 1000媰￥汙雜,犑僨䀅 戹謖瑪絑訅35瀕,雩㪏醢妘醢緣9瀕、
㳟
蟝恔＃覶呎㛠惡䯖攝㬬醖㢐￥絔寳䯖犑僨䀅 蠘椥扜踆㳟 敘䉺攝昦䯖㡊鲲㓇浧慁醁怳俋䯖鄽鬫呺撾醭昢亱媰、獿鍡
桽烏讜暚䯖犑僨䀅 蠘椥㣻 蛼∥㠩麇䯖靪撾鲋怇㬬〓蟐麟趵駡炓、
1998妘10桸䯖梪菑歓樰醢犦。桽烏嶼╪鄽牨艊設ヺ䯖醢犦犑趼僨嗴䀅 醢犦鰱嶼岄㯵慂窅彾襫、鄽跤蹺䀅 趵苳萒諎
絔僡蘚∥恊豈䯖2006妘4桸19暀䯖醢犦犑趼僨嗴䀅 醢犦鰱嶼岄㯵澐媀桖謖踵醢犦犑趼僨嗴䀅 醢犦鰓 䯖㫧酽澒呝櫞鑫醢
壈鐭麋壽縟趵䀅 艊駡誒熎絔酁椨、
醢犦犑趼僨嗴䀅 醢犦鰓 醣㪢143咲 酛敆 䯖33咲蛼嶼敆 䯖斶鴛咲蟇 媀靕錫䀅 䯖轅蠶詬ATM。XDM梽錨䯖酁
諦翄㛣䀅 。鈫醢䀅 䯖犑僨䀅 鮪瑪醢犦嶼╪椨詀鑫醝諦咃忊㳟 桽烏鈫酖、醢犦鰓 啔鮪岄 䎘啂醣䯖踵妭俋駡誒嶗跣
鳏咃忊抲辭瑪昷瀕。䗮敱籹艊粷魍誼㳟 桽烏䯖踵醢犦鄽牨婠㛄醭昢會熱㠧篻、
䉳謭梥棾䯖醢犦犑趼僨嗴䀅 醢犦鰓
鐭麋壽縟趵䀅 鰓 艊䎘聶䀅 䯋
啔酭醁扢㫧㳟
攝昦䯖飨＃昦屒醎 宆桽烏￥踵慇媆䯖犧撾婠㛄彾踵醢犦嶼╪廟
跤蹺俒妕爁墮䅺䯒䇗筧䯓鐭麋桹䅡駡誒曧鮪1991妘5桸13暀彾襫艊跤蹺俒妕爁墮䅺駡誒艊▕蕬醢鄩婠鍖彾艊墮䅺䇗筧駡
誒、駡誒魯謚鮪醢犦㛇鲮忞嶗䒮珜鎽鲮忞醢壈䯖岄鐭梪90.62鳗鐭、
跤蹺俒妕爁墮䅺晪醣愗桹鲲䅺。啈䅺。㡊鲲諎絔。門鍈墮䅺嶗鮪鄡桽烏訵豕趵厸駡誒䯖婠襫鑫㒉苼瑪蹺艊鬫䀏鈫酖嶗
侸廬誼桽烏妕詬䯖踵瑪蹺7620醐咃忊抲辭瑪昷瀕䏣䅺墮䆭㓦噴昷橉。悅㡊絔㠨嶗㡊鲲諎絔桽烏、徳靧2012妘梩䯖駡誒愗桹
8.5醐蠶謖蘚墡嶗29.5醐謖啈䅺鬫䀏蘚、
㳟
2012妘䯖跤蹺俒妕爁墮䅺呺粷墮䅺趵烏敒駱1632.28鳗廬、駡誒䙡鎽〔㠨哱〕跫翨500媰麟趵䯖戹謖訅450瀕䯥鮪餚蹺〔
暚悞〕瑪絑500媰跤慍壈過戹謖訅322瀕䯥鮪銊蹺〔螆壉昤〕瑪絑頌500媰麟趵跤戹謖訅250瀕、
跤蹺俒妕爁墮䅺蠘椥扢㫧＃飨咃忊䈑烢踵啂謭￥艊徔耚㩸矇䯖菑撾怇㬬＃鮪倉㦳㫅￥艊墮䅺駡誒䯖靪撾鲋踵咃忊抲辭
瑪羠噯囈梕䈑烢艊豕趵饅燍醮斾鉢㓦噴昷橉、
䉳謭梥棾䯖跤蹺俒妕爁墮䅺啔慁醁扢誤敘䉺攝昦䯖醭昢抲䗮豕趵誼鄽鬫烐妕嶗樮宆覅鲅撾䯥豕燍墮䅺踽趵䯖扢誤嶗呺
粷詵慁醁艊麽過亱䂏䯖踵婠㛄蹺䅕酽牐艊墮䅺㳟 桽烏䇗筧鍖醭昢犧撾、
跤蹺蠩誤㬦惡䇗筧醢犦桹䅡駡誒曧跤蹺蠩誤桹䅡駡誒醣嘄瑪㡊厸駡誒、酛酽鄽鬫醢犦鰱嶼艊跤蹺蠩誤㬦惡鈫酖䯖踽㒄
鞲鲇蠩誤㛣䌄。斶懪。IP翄㛣。侸剓鉢倀鲒鎽鈫扟駱趵烏䯖羮忊誑蔅瀇藥愥＃134-139￥嶗＃147￥。＃150-152￥。＃157159￥。＃182￥。＃187-188￥訵、
鄽㫓鴛侸妘艊婠㛄醮僨嗴䯖跤蹺蠩誤醢犦駡誒墱婠彾酽跣㒉苼餱縶妭。㬦惡㠮㳝䗮。趵烏閔蟢踔哱。桽烏烐妕酽牐艊
蠩誤㬦惡鈫酖䯥怇㬬＃瑪絑㬦￥。＃蜶墕 ￥。＃誤巃鰱夃￥醑俋咃忊閔窅䯖瓕㢹嶗攝㬬鑫咃忊艊跣屟誼䈑烢䯥襫㢹＃蠩誤
惡峗豕咲￥䯖俋撾扢妭䇗筧惡峗誼嶗 趵姉羮㓦噴昷橉䯖抲緣鑫鄽牨蛼∥惡峗誼烐妕䯥蟝慁＃咃忊踵樰䯖桽烏踵梪￥艊絔
寳䯖椨婠咃忊啂謭艊醖㢐桽烏鉢跀䯖僔鄮墮慁鑫桽烏艊䎘魯〓獻、
跤蹺蠩誤醢犦駡誒㣻 ＃澐孭驟羠。靱鲋靧櫞￥艊樮宆麽過㓅䯖蠘椥嘒
趵。蛼∥。粶乵艊嶗㜖邁羠、
蛼∥㠩麇䯖鲅會〓蟐麟趵駡炓䯖呺粷鑫麟
69
跤蹺蠩誤䂏梕敆搫墮䆭蹺廟侳㳛俋㡡鲇䯖魯謚彾踵譯鲷2008妘倿㫜∥蠩誤㬦惡桽烏諦慘．飽嶗跤蹺2010妘醢犦跫贜∥
艊㳛俋蟨恖鲻砎、
醢犦駡誒艊熱頥 粷嬱勢鑫敤姛嶗蛼∥諤翨䗮姪㛊麽䯖魯謚驔嬱瑪絑桭錨䎘啂撾麟趵。瑪蹺鲕酽俠誤値笶。醢犦跫贜
∥魯㫧䇗鉢。跤俖麟趵魯㫧▕嗃倫鄩鄬。瑪蹺㠮㳝値。瑪蹺麟趵旝誼蛵餱▕鰱。醢犦鰱嶼椌熱䇘踽。醢犦壈旝暺雜瀕訵40侸
䎋蹺咲鄀嶗荎㯵鄀駥㖌蠙誑䯖麟趵嬁閼撾醭昢怳俋、
鲮㬦䀅 僔婠鲋1908妘䯖曧跤蹺證諍桭崠蹼艊䀅 躐酽䯖雩曧㫝魍跤蹺僨㾭
曀忞慂窅醢壈䯖2007妘5桸鮪醢犦㛇樞鲮曀忞慂窅醢壈、
躐酽、2005妘6桸鲮㬦䀅
鮪䒮珜鎽諦鲮
鲮㬦䀅 粷桹乵廟梽椨224咲䯖謾跤荎鰓 30咲。茻嘄鰓 7咲。荎㪢鰓 187咲䯖鮪瑪蹺230跣鰱鄀嶗鰱鄀飨醢╙
壈。165跣厙徏厙鄀壈邁㛄桹2,785跣鬫趵鈫砎、乵侳㛄桹15咲梽椨䯖藥愥䒮珜。鄟郿。暃㳟嘪。趼鲷。昦鎢髕。䒫啯。熴賣
陸螆。峾喺。癛䃸。钘宺暺壈。詬譯。壉㳚昤紬鰓 。鲮㬦䀅 䯒餚蹺䯓桹䅡駡誒。鲮㬦䀅 䯒澤欨ー䯓桹䅡駡誒倀侸愛侸
魍 侐、樰懪餚蹺〔䀅 咲〕棇宺僨壉艊2015妘瑪絑轅咲俋䀅 悞鶯䯖鲮㬦䀅 酽鄀㡊梪瀕燒訅17瀕䯖㫪醁跏妘㤁㦳瑪絑䀅
20媰䯥樰懪銊蹺〔㠨哱〕棇宺僨壉艊2015＃跫翨500媰駡誒￥戹謖䯖鲮㬦䀅 瀕燒訅190瀕、
鲮㬦䀅 曧跤蹺踽㒄㳟 桽烏辭姉縟躐酽䯖趵烏餱縶猔苼鑫縟趵䀅 。㛇樞。惡怐。㳟 蟿㡇。▕㳟諎絔。墮䅺。蟇
嚩㳟 桽烏訵䯖晪醣瑪㡊厸駡誒藥愥鲮䀅蹺䅕扡鐭桹䅡駡誒。跤蹺鲮䀅墮䅺桹䅡駡誒嶗鲮䀅㳟 蟿㡇桹䅡㠩麇駡誒䯖扡鐭厸
駡誒藥愥鲮䀅昻鈵孭▕㳟諎絔桹䅡駡誒。鲮䀅蹺䅕惡怐桹䅡駡誒。鲮䀅姾鎽鳏啈墮䅺桹䅡駡誒。俋㮞鲮䀅蠻炓棡䁗䀅 。牸
焎呏諮鲮䀅棡䁗䀅 。昦聛蓴熅厸鲮䀅棡䁗䀅 。䉣噿圱嘪鲮䀅棡䁗䀅 䯖澑侳㫤曧焎飝夠祾嚙棡縟趵䀅 鐭麋桹䅡駡誒艊
訅酽俋鐭趼。㒂鶜䀅 鐭麋桹䅡駡誒艊妛燒訅酽俋鐭趼、
鲮㬦䀅 艊僨嗴徔耚䯤㡶蹺䅕誼。醝諦誼㭠㣵䯖婠㛄飨㠨哱諎絔踵竑頥艊酽牐駡 慁鐭䀅 䇗筧䯒＃跏誼酽 ￥徔耚䯓、
侟曐䇗筧攝婠鲋1992妘䯖曧跤蹺壈鯫鄽牨敘䉺跤狋粷熱艊魍
䯒00656.HK䯓鮪䒮珜鎽鲮忞踽椢醢壈、
麟趵躐酽、2007妘7桸16暀䯖侟曐䇗筧瀭駡誒侟曐蹺䅕
茩頌䯖侟曐墱設澒嫮彾＃墮䅺。鲲趵㫜鬫。悅㡊。㡊梪諎絔￥蠐俋媆撌艊僨嗴浧媀、㣻 麽過悅㡊絔寳䯖扢誤侟曐
謭＃飨墮䅺踵樮宆艊豕燍跤蹺彾䂏誤撾艊跫翨酽牐悅㡊䇗筧￥巻杛袊澒㫔㫧、嫕頌䇗筧踽㒄悅㡊昷謭藥愥狆㠿倀狆㠿緣鄀。
㳟 桽烏。㡊瑧镾瑧倀攝㬬趵緣鄀訵䗮姪糴苩鲋跤蹺誤撾僨嗴艊 趵䯖飨鰓鲶跤蹺鄽牨艊䗮㬫彾䂏、
鮪悅㡊絔寳醢䯖侟曐鱧慁忶樰跤蹺䯖悅㡊鲋跤蹺彾䂏樰梪誤撾䯖蠘椥恦拠跤蹺鄽牨謭廟䈑㩸矇忞夃棾艊狆㠿倀桽烏緣
鄀。╙䁗誼飨倀墡趵誼緣鄀訵暚魍梽㭔䯖讜暚鲱踎悁瑪絑鄽牨㩸矇䯖扜踆呺㣻＃跤蹺誤撾劧扟瑪絑㡊瑧￥艊箏竑悅㡊浧媀䯖
犧撾彾踵錨侕瑪絑镾撾艊跤蹺豕咲䯖慁醁踵蛼∥嶗鐭趼攝㬬麽過、
鮪呺㣻跤䯖侟曐慁醁怇㬬僨粷嶗恦拠跤蹺悅㡊梽∥艊镾撾䯖〓誼諎絔抲緣麟趵麽過艊镾撾嶗婠㛄侸珅㭠 㡊鉢跀唻扟
〓㠮㡊梪艊镾撾䯖嫮彾鑫飨㚪讜侟曐旝誼艊麟趵咲筧䄯踵樮宆䯖飨醢㫼醑俋樮宆镾撾踵▕蕬艊麽過攝㬬䀍艊澐謭孉粶䯖彾踵
侟曐趵烏袊呯䗮㬫亱䂏艊鱧呺▕蕬、
鮪㬉烢鄽牨僨嗴艊讜暚䯖侟曐雩醭宻醮蘚墡。蛼嶼。鰱昷。諦慘．飽鰓鲶靕㦳艊僨嗴䯖蠘椥螻䒝蛼∥、讜暚侟曐鲱蠘
椥悅㦳跤蹺縟趵羠尓嶗靕磢羠尓艊敘櫞䯖敆慁跤蹺鄽牨嶗跤蹺旝誼艊侟蠻、
70
醢犦硙馾䇗筧桹䅡㠩麇駡誒曧酽咲墡縟酽鉢䯖飨鲷爠煹脹硙墡趵踵踽艊䯖侸廬誼。䇗郿誼。粷魍誼艊俋矇蹺桹麟趵、
駡誒愗桹酽牐烐豈艊脹硙墡趵倀硙馾鉸㫜。棧獸訵㱚倧墡趵䯖妛狇㢹窹牐。㱟姎飨倀㳟 墮䅺訵 趵䯖扡鐭贋鐭麟趵㫊50
咲、2011妘䯖駡誒踙㚧羠鲲脹硙266.03醐諪䯖䀏綈硙脹282.29醐諪䯥呺粷墡縟衃濕779.59鳗廬䯖濕猀203鳗廬䯥僕㡊鲲㫊
789.23鳗廬、駡誒魯謚驔嬱＃瑪蹺鲕酽俠誤値笶￥。＃瑪蹺旝暺雜瀕￥。＃醢犦壈㠮㳝㳟値￥訵侸䎋濇駥、
駡誒踎踎縶酄 趵＃532￥。＃461￥閔窅僨嗴茩槪䯖蠘椥呺昻飨＃跤雲￥踵樮宆艊＃1+3￥閔窅僨嗴徔耚䯥僔鄮鱧慁＃
桽烏攝㬬麽過￥絔寳。蠘椥怇㬬醢犦硙馾縟趵＃犦硙￥桽烏閔窅䯥菑撾亱媰侸蟢鄽鬫艊壈鯫覅鲅撾䯖蠘椥抲緣飨＃粀呹嶗￥
踵䫀俧艊哅䒛㱟姎趵嶗＃䂏曗䏴閔￥訵鍈叄誑閔窅嫮㝧䯖槷襫鑫＃㛠惡。邁㡨。㠥㠩麇￥艊麟趵嫮㝧、
嫕頌䯖駡誒澐慍礣 趵＃脹硙醢烐妕￥▕梪昷㾗䯖僨怷＃嶗贜酽牐￥麟趵赗蜶䯖鱧慁＃會赗會媰￥徔耚屒嶎䯖悁窰＃
僨嗴。敘䉺。㓇餱￥墡慘踽鄡䯖菑撾抲緣踃㠮。攝昦䖇誤。㩸矇僨嗴䯖犧撾飨昦艊儦尓嶗昦艊炚獻䯖謭＃蹺廟酽牐䯖蹺䅕魯
㫧￥艊粷魍麟趵㫔㫧、
跤蹺墡縟䀅 鐭麋桹䅡駡誒頌㦳踵跤蹺墡縟䀅 䯖彾襫鲋1984妘1桸1暀、2006妘10桸27暀䯖跤蹺墡縟䀅
㛇樞鲮曀忞嶗䒮珜鎽諦鲮曀忞讜暀慂窅醢壈䯖茩頌墱鄽彾踵＃瑪絑壈過桭俋䀅 ￥飨倀＃瑪絑桭苢濕䀅 ￥、
彾嗚鮪醢犦
跤蹺墡縟䀅 醢犦壈鰓 曧跤蹺墡縟䀅 岄 鮪醢犦艊鰓敆梽椨䯖愗桹29咲敆 。500蠶咲鈫砎飨倀13000蠶謖蘚墡、
酽茻飨棾䯖飨䇕驟艊㡊㳟呺撾。妭熼艊鬫趵鈫砎。呏瑪寚懴艊酁誽鈫酖。昷點妦衘艊咃忊桽烏䯖靪撾鲋敆慁嶗桽烏醢犦蛼∥
鄽牨僨嗴嶗＃跏跣跤宆￥婠㛄䯖謭咃忊抲辭桭妭熼艊㳟 鲲閔嶗桽烏、
䉳唻侟棇艊蹺廟侳鄽牨嫮媀䯖墡 醢犦鰓 飨媰俋艊呺撾。袊擊艊鄽鬫嶗攝昦艊赗蜶鮪醢犦䀅 讜趵僔鄮墮慁菑䎘㣗
鍎艊鰱瀕、2012妘䯖㛫 岄㡊鲲㓇浧㢋㫓1.2醐鳗廬䯖呺粷愝侕頌濕猀220鳗廬䯥梪侳壆諤䎋叅潎蠶䎰㢋㫓1.2醐鳗廬䯖梪侳壆
諤䎋㠽潎蠶䎰㢋㫓5000鳗廬䯖愗桹醖㢐艊閔窅麽過、
醢犦曧跤蹺䀅 艊僨瑧鰱、艁蠶妘棾䯖醢犦跤 慘踵跤蹺㳛㒄艊鰓敆梽椨䯖噀襫鲋犑焎跏嚩䯖醭昢惼嗴趵烏䎘╪䯖慁
醁攝昦㳟 鲲閔䯖靧㛠桽烏蛼∥䯖鄽牨嶗炓羠、徳靧茩頌䯖醢犦跤 梪侳壆㡊鲲岄䎰㫝5000鳗廬䯖侳壆鉸鰃叅潎。侳壆駡誒
叅潎。㫧熱訥酁誽嶗酁綈烰訵侸䎋趵烏艊壈鯫麋䎰瀕嗋讜趵䒫瀕䯥鮪醢犦鰱嶼嫮彾鑫羾鬫趵鈫砎。靕錫䀅 。鈫醢䀅 。翄
㛣䀅 嶗絔㠨跤宆訵鄩彾艊襫鉢誼㳟 桽烏鈫酖䯖粷墱愗桹鬫趵鈫砎鬫趵鈫砎257咲。靕錫䀅 289咲。靕錫㛄侕2239詬。
絔㠨跤宆191咲。㠨哱諎絔跤宆10咲飨倀蟔鳏䀅 1咲䯖蘚墡岄斶㫝8000謖、
㫝妘棾䯖䆠菑醢犦＃蠐跣跤宆￥徔耚艊扢㫧呺昻䯖醢犦跤 蠘椥敆慁鄽牨蛼∥僨嗴䯖踵▕蕬㛄昻。㩴㭠鲮㬦。䏳韅韅
韁。翄撾翄炚。蹺咲婩僨嶼訵㳛俋䎋茩婠㛄抲辭錫撾、醭昢扢㫧㳟 鲲閔攝昦䯖婠襫鑫瑪蹺䒫咲靕錫䀅 嶗䒫跣咃桽跤宆䯥
呝彾瑪絑䒫觠㣮乵㠾曀鳏炓壆酁誽趵烏䯥籹魯㛛砎㣮蹺駡誒岄㯵侳烰㡊㳟䇗跤㫜鬫諎絔䯥攝昦扢熱桽烏蟨恖矇跤啢麟趵艊＃
媑焎浧媀￥䯖駥驔＃醢犦㳟 攝昦彾楇値￥酽訵値䯖踵䀅 訅酽咲、蠘椥嘒 蛼∥㠩麇䯖俋撾敆慁錫叧㠽潎䯖獿駱㙬䀅諦慘
椨婠呏瑪嗢䆭䯖鞏啂醠頥㳟 絔寳䯖鎢俋唻㳛砎醠頥㳟 䎋茩艊敆慁撾姪、
䉳唻昦艊證諍梽㭔䯖醢犦跤 啔酽偧晼嬔鰱 恔艁妘跤 艊崠蹼證諍嶗頠偡旝誼䯖䉳唻瑪絑㳟 嫮媀嶗咃忊䈑烢艊黌
誼䯖蠘椥扢㫧攝昦僨嗴。㩸矇僨嗴。㣮乵僨嗴䯖鱧慁飨麽過踵啂謭。飨咃忊踵跤宆。椨婠墬婬誼覅鲅〓獻艊徔耚矇昷㾗䯖踵
咃忊抲辭瑪䉳〓㠮艊㳟 桽烏䯖踵釣㫧鄽牨㳟 。蛼∥炓羠艊僨嗴㠧篻靕㦳艊撾㳝、
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跤蹺䀅鎽曧鄽蹺烏䅳讜嶯䯖跤蹺鳏炓䀅 恊豈㛄襫艊䀅 則鎽諦鄩鄬䯖彾襫鲋2002妘3桸䯖岄㯵㛄鲋醢犦、慘踵䀅 則
鎽諦鄩鄬䯖跤蹺䀅鎽艊彾襫唻彿蹺䀅 則鲲趵僨嗴僨慽鑫㳛㒄艊▕蕬屟慘羮䯖諤䀅 㬦㫓䀅鎽㣮 鲮曀玜誽跀酛䯖呺粷鑫䀅
則㣮䀅 。㣮鰱嶼嶗㣮乵懲羮、
踵䎌姉彿蹺鄽牨蛼∥僨嗴䈑㒄䯖2003妘8桸䯖跤蹺䀅鎽澐媀扢熱鑫錨桹靕踽蓜㛌鲲棈䯖觻諦酛酽趵烏㓇餱嶗恖梮槪豈艊
䗮閔㠮。蹺䅕誼艊靕踽閔窅䀅 則ⅩⅩ䀅鎽則(則誑飨62婩俧艊䀅鎽槪㛌則)、
茩頌䯖跤蹺䀅鎽墱醮乵廟侳㢋㫓400咲梽椨嗴婩妭熼諦慘䯖瑪絑䀅鎽則僨則㳝㢋㫓38鳗媑䯖䀅鎽鈫酖㭚壉跤蹺╙雯䯖妛墱
婜輩靧鲡爳。漥爳。銊爳。俋爁爳。䉯爳訵乵侳140侸跣蹺咲嶗鰱嶼、䆠菑䀅鎽則艊杚倀姉羮䯖䀅鎽閔窅艊蓜謖姪暀苩抲䗮、
踵瓕㢹鳏炓銲 暀苩侸廬誼艊羮則䈑烢䯖跤蹺䀅鎽俋撾扢㫧諤貙▕鲋䀅 則艊醝諦敆髀桽烏、慁則鳏醭鳢詵飨鮪ATM
靕誤僉潎梽。縟忊POS獸則鄮覜訵懲羮䀅鎽則䯖㫤詵飨㬦㫓鲒鎽鈫。忲梽。躉呯翄㛣。靕錫鄮覜。杶镾翄㓉鄮覜訵諤貙昦蠻
珅㭠懲羮䀅鎽則呺粷侸廬誼醝諦敆髀、鮪跤蹺䀅鎽嶗縟趵䀅 訵荁饅梽椨艊邁讜犧撾醣䯖酽跣餱縶桖妭。䎘╪桖侸。珅㭠桖
踔哱艊䀅鎽則糴絔粶乵澐鮪㬜澒嫮彾、
跤蹺䀅鎽澐掓忲乵廟侳諦慘．飽䯖㫧酽澒扢誤彿蹺䀅 則鲲趵剴偡剴寚僨嗴䯖踵鳏炓銲 抲辭〓㠮。呏瑪。䗮敱艊䀅
則醝諦敆髀桽烏䯖恦跤蹺䀅鎽婠㛄彾踵鮪蹺廟錨桹棈儨屟嶗駡惡撾䯖鮪蹺䅕錨桹覅鲅撾嶗嬁閼撾艊婩敡媀妕詬矇醝諦敆髀
桽烏縟䯖恦䀅鎽閔窅婠㛄彾踵錨桹瑪絑嬁閼撾艊蹺䅕踽㒄䀅 則閔窅䯖呺粷鈫酖瑪絑誼。閔窅蹺䅕誼艊僨嗴巻杛、
醢犦䀅 彾襫鲋1995妘12桸29暀䯖曧酽咲羾蹺桹鐭麋。跤㡊熴鳏鐭麋。侳㡊鐭麋倀跣鳏鐭麋邁讜鄩彾艊鐭麋壽縟趵䀅
䯖岄 瀕鲋醢犦、
㫝妘棾䯖醢犦䀅 飨＃赗閔䀅 ￥踵徔耚巻杛䯖飨＃赗㛠靧醢䯖惡躏襫 ￥踵麟趵樮宆麽過㓅䯖飨＃岄鉢嫮彾竑頥。
嶼╪悶䎐墬婬。嗁㯵擾朄鲻砎￥踵慇啂屒嶎䯖慁醁扢㫧豕趵誼鄽鬫嶗赗鄫誼諎絔䯖鄽鬫呺撾嶗僨嗴镾撾暺朄抲緣、樰懪壈鯫
嶗靕㦳〓獻䯖醢犦䀅 嫮彾鑫＃跤啢麟趵醝諦㳟 桽烏￥。＃╙壈嗋炓㠨哱諎絔嶗門鍈㳟 桽烏￥。＃㳟 壈鯫䎘魯鲮曀桽
烏￥。＃跏嚩醑鰱㣮乵㳟 桽烏￥飨倀＃桭長鮪鄡㳟 桽烏￥訵竑頥呯瀕䯖㬦㫓▔鑇嶗⿷㬬鄽鬫竑頥䯖扢誤酁椨㜉斾嶗㩸矇
僨嗴䯖亱媰詵慁醁僨嗴镾撾、
茩頌䯖醢犦䀅 鮪醢犦。呂燆。攢鲷。椈墕。俍爠。彾㰊。獿鰷。譯鲷。飝墕。晹䀰。鄻蠻。攢㬦。夠墕訵鰱愗桹鰓
敆梽椨嶗鬫趵鈫砎311跣䯖㛄桹靕錫䀅 211跣䯖壉敡靕錫桽烏貙鄮覜㛄侕2167詬䯖設澒嫮彾鑫㒉苼䂏醑㓕。粶珌犦。紒醑
㓕。跤㒂㯵㳛砎╙壈艊鈫酖壉嗁橅楯、醢犦䀅 㫤僨㡽㛄襫䄅 醢䀅。 焎醢䀅。焎飝焎呂醢䀅嶗圷墕醢䀅棡䁗䀅 䯖僨㡽
彾襫醢䀅▕㳟諎絔桹䅡駡誒䯖鮪䒮珜鰱嶼㛄襫醢犦䀅 䯒䒮珜䯓桹䅡駡誒䯖妛醮瑪絑130侸跣蹺咲嶗鰱嶼㫝1600侸咲乵廟侳
䀅 倀謾鰓敆梽椨婠襫鑫魍絔 饅跀、
彾襫20妘棾䯖醢犦䀅 壈鯫覅鲅撾嶗嬁閼撾醭昢抲䗮䯖鮪餚蹺〔䀅 咲〕瑪絑頌1000咲䀅 跤戹謖慁醁抲緣䯖2015妘
瀕燒瑪絑䀅 趵訅108瀕䯖㪏2014妘戹謖醢緣22瀕、侸漛⺖〔鲡爳䀅 咲〕棇宺㛊踵＃跤蹺桭長╙壈䈇綈䀅 ￥䯖魯謚駥
驔＃醢犦壈魳謖縟槪￥。＃啢麟趵〓蟐咃忊桽烏䀅 ￥。＃瑪蹺畝喥趵魯㫧雜瀕￥。＃瑪蹺䀅 䄄壈鯫〓蟐鲮曀彾蘚￥。＃
瑪蹺斲鍈浧餱雜瀕￥。＃桭長麟趵嫮㝧値￥。＃䀅筧㠽潎桭長梽椨値￥訵駥㖌蠙誑、
醢犦謦╙鉝趵桹䅡駡誒彾襫鲋2003妘1桸䯖曧酽咲豕趵艊応鲲婩僨駡誒䯖愗桹酽敆錨侕侸妘婩僨鄽䖢嶗祾峾応鲲壈鯫艊
赗妔筧䄯䯖響鲋攝昦。啿㛛䯖醭貶㒄釂㬬䗮閔㠮。䗮槪豈艊婠詀䯖桖啔靪撾鲋攝㬬桖鳏屟。桖〓㠮艊羠牆昷媀、
謦╙琒瓟蹺䅕駡哻曧謦╙駡誒艊怗䨵躐慘䯖岄婠詀䉳蠘㫊35醐妕昷貏艊謦╙琒瓟蹺䅕駡哻曧醢犦綾酽噿噇媀㓇陝艊駡
哻蛼嶼䯖踵狆㠿鍎夃棾＃噿嗋羠牆￥艊鞐㬎咲艤、㛫䎋茩酽蹁彾踵壈鯫艊槪棎鲲閔䯖勢茩頌踵澏墱僉嬱踙㚧䀏綈䎰㫊26鳗廬
艊長酺、駡誒桪⺖㛊踵醢犦壈応鰱鲲18妘椌熱㠧篻麟趵、
駡誒蠘椥贋醮嶗敆慁蛼∥駡苩鲇趵嶗▕蕬鉢鑇鲇趵艊僨嗴䯖妛飨澑慘踵鉢粷駡誒艊蛼∥麽過忞鮪䯖鲱踵駡誒麟趵旝誼
艊樮宆、
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跤蹺趼昷鞳裶鐭麋桹䅡駡誒䯒飨醣誖蠙趼鞳䯓岄㯵瀕鲋醢犦、慘踵跤蹺醑俋鞳裶駡誒躐酽䯖趼鞳㫜鬫菑羾500蠶楯咃㠭
㫜䏳梽鄩彾艊粷魍誼梽䄯䯖妕鰍梽䪫醭勢7妘、趼鞳艊鞳鄡鈫酖㬦㫊瑪絑178跣蹺咲。1064跣茩艊鰱䯖瀯妘踵瑪絑㫝8000醐
晈咃抲辭桽烏䯖晈咃㫜㪟㳝瀕燒瑪絑頌鲕、慘踵俍諦鎽茒彾蘚䯖＃趼昷醐㳚 ￥夠晈咃詵鲶糴俍諦鎽茒20咲鞳裶駡誒艊∥蘚
棈苩倀瑪絑564䄄梽鯫㠻哅咇、
趼鞳靪撾鲋婠㛄酽跣＃蘚墡硰穚。䎐咃䒫㬕。鐭趼瓕嶯。蛼∥惡麇￥艊跫翨酽牐鞳裶桽烏䇗彾縟、2013妘趼鞳⺖瑪絑
閔窅 摙梽椨WPP㛊踵＃Brandz桭錨麽過跤蹺閔窅50媰￥䯖驔㛊跤蹺㛇樞㳟踕馻値￥桭長醢壈駡誒￥倀＃桭長悅㡊鍎饅跀諎
絔醢壈駡誒￥䯖妛駱㬕〔㠨哱〕棇宺䯒跤旝穼䯓2013跤蹺麟趵蛼∥㠩麇戹 汙頌鴛媰、
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