簡樸與豐富之間：論NSO歌劇音樂會系列演出(2002-2004)
回上一頁姓名：車炎江
系所/單位：音樂學系
刊名：關渡音樂學刊
第1期 (2004年 12月)
出版年：2004
出版月：12
ISSN：1814-1889
簡文彬接任國家交響樂團（NSO）的音樂總監三年以來，對於全本的歌劇演出明顯地抱持著高度興趣；其中，「NSO歌劇音樂會系列」的節目即為最具體的例證。在簡樸的舞台布景中，NSO歌劇系列的演出獲得高票房的支持，這象徵著跨界合作的成功？還是暴露出更多歌劇音樂會演出上的問題？這類「簡樸」的製作是否一樣能為觀眾帶來「豐富」的收獲？音樂專業工作者是否能在發揮自身創意的同時，不僅呈現歌劇音樂的新風貌，還能增益其商業市場的價值，甚至超越原有演出形式的藝術水平？文中將逐一加以探討。
The aim of this music criticism was to evaluate the program of the “NSO Opera in Concert Hall Series” from May 2002 to April 2004, and to explore the “cross-over” phenomenon in this series. After being the music director of National Simphony Orchestra for three years, Chien Wen-bin has shown his enthusiasm in opera, for instance, the program of “the NSO Opera in concert hall series” in 2002-2004. According to the statistics, all the performances of this series were amazingly successful in box-office, and they benefited quite a lot from the cross over theatrical directors. This “cross-over” phenomenon was the main topic of the second half of this criticism.
The aim of this music criticism was to evaluate the program of the “NSO Opera in Concert Hall Series” from May 2002 to April 2004, and to explore the “cross-over” phenomenon in this series. After being the music director of National Simphony Orchestra for three years, Chien Wen-bin has shown his enthusiasm in opera, for instance, the program of “the NSO Opera in concert hall series” in 2002-2004. According to the statistics, all the performances of this series were amazingly successful in box-office, and they benefited quite a lot from the cross over theatrical directors. This “cross-over” phenomenon was the main topic of the second half of this criticism.